Self-Encounter: The 10-Episode TV Show That Introduced Existentialism to Americans in 1961

“Exis­ten­tial­ism is both a phi­los­o­phy and a mood,” says Hazel Barnes by way of open­ing the tele­vi­sion series Self-Encounter: A Study in Exis­ten­tial­ism. “As a mood, I think we could say that it is the mood of the twen­ti­eth cen­tu­ry — or, at least, of those peo­ple in the twen­ti­eth cen­tu­ry who are dis­con­tent with things as they are. It express­es the feel­ing that, some­how or oth­er, all of those sys­tems — whether they be social, psy­cho­log­i­cal, or sci­en­tif­ic — which have attempt­ed to define and explain and deter­mine man, have some­how missed the liv­ing indi­vid­ual per­son.”

Exis­ten­tial­ism was on the rise in 1961, when Barnes spoke those words, and the sub­se­quent six decades have arguably done lit­tle to assuage its dis­con­tent. By the time of Self-Encounter’s broad­cast in ’61, Barnes was already well-known in philo­soph­i­cal cir­cles for her Eng­lish trans­la­tion of Jean-Paul Sartre’s Being and Noth­ing­ness. When she took on that job, with what she lat­er described as “three years of bad­ly taught high school French and one year­long course in col­lege, and a bare min­i­mum of back­ground in phi­los­o­phy,” she could­n’t have known that it would set her on the road to becom­ing the most famous pop­u­lar­iz­er of exis­ten­tial­ism in Amer­i­ca.

Five years after the pub­li­ca­tion of Barnes’ Sartre trans­la­tion, along came the oppor­tu­ni­ty to host a ten-part series on Nation­al Pub­lic Edu­ca­tion­al Tele­vi­sion (a pre­de­ces­sor of PBS) explain­ing Sartre’s thought as well as that of oth­er writ­ers like Simone de Beau­voir, Albert Camus, and Richard Wright, between drama­ti­za­tions of scenes drawn from exis­ten­tial­ist lit­er­a­ture. Self-Encounter was once “thought to be entire­ly lost, the orig­i­nal tapes hav­ing been report­ed record­ed over,” writes Nick Nielsen. But after the series’ unex­pect­ed redis­cov­ery in 2017, all of its episodes grad­u­al­ly made their way to the web. You can watch all ten of them straight through in the near­ly five-hour video at the top of the post, or view them one-by-one at the Amer­i­can Archive of Pub­lic Broad­cast­ing.

Self Encounter was pro­duced in 1961 and first broad­cast in 1962,” Nielsen writes. “I can­not help but note that Route 66 aired from 1960 to 1964, The Out­er Lim­its aired from 1963 to 1965, Rawhide aired from 1959 to 1965, and Per­ry Mason aired from 1957 to 1966” — not to men­tion The Twi­light Zone, from 1959 to 1964. “It would be dif­fi­cult to name anoth­er tele­vi­sion milieu of com­pa­ra­ble depth. Our men­tal image of this peri­od of Amer­i­can his­to­ry as being one of sti­fling con­for­mi­ty is belied by these dark per­spec­tives on human nature.” And as for the social, psy­cho­log­i­cal, sci­en­tif­ic, and of course tech­no­log­i­cal sys­tems in effect today, the exis­ten­tial­ists would sure­ly take a dim view of their poten­tial to lib­er­ate us from con­for­mi­ty — or any oth­er aspect of the human con­di­tion.

Relat­ed con­tent:

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

Exis­ten­tial­ism with Hubert Drey­fus: Five Free Phi­los­o­phy Cours­es

An Ani­mat­ed Intro­duc­tion to Albert Camus’ Exis­ten­tial­ism, a Phi­los­o­phy Mak­ing a Come­back in Our Dys­func­tion­al Times

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

An Ani­mat­ed Intro­duc­tion to the Exis­ten­tial­ist Phi­los­o­phy of Jean-Paul Sartre… and How It Can Open Our Eyes to Life’s Pos­si­bil­i­ties

Exis­ten­tial Phi­los­o­phy of Kierkegaard, Sartre, Camus Explained with 8‑Bit Video Games

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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, on Face­book, or on Insta­gram.

Aldous Huxley Predicts in 1950 What the World Will Look Like in the Year 2000

I’ve been think­ing late­ly about how and why utopi­an fic­tion shades into dystopi­an. Though we some­times imag­ine the two modes as inver­sions of each oth­er, per­haps they lie instead on a con­tin­u­um, one along which all soci­eties slide, from func­tion­al to dys­func­tion­al. The cen­tral prob­lem seems to be this: Utopi­an thought relies on putting the com­pli­ca­tions of human behav­ior on the shelf to make a max­i­mal­ly effi­cient social order—or of find­ing some con­ve­nient way to dis­pense with those com­pli­ca­tions. But it is pre­cise­ly with this lat­ter move that the trou­ble begins. How to make the mass of peo­ple com­pli­ant and pacif­ic? Mass media and con­sumerism? Forced col­lec­tiviza­tion? Drugs?

Read­ers of dystopi­an fic­tion will rec­og­nize these as some of the design flaws in Aldous Huxley’s utopian/dystopian soci­ety of Brave New World, a nov­el that asks us to wres­tle with the philo­soph­i­cal prob­lem of whether we can cre­ate a ful­ly func­tion­al soci­ety with­out rob­bing peo­ple of their agency and inde­pen­dence. Doesn’t every utopia, after all, imag­ine a world of strict hier­ar­chies and con­trols? The original—Thomas More’s Utopia—gave us a patri­ar­chal slave soci­ety (as did Plato’s Repub­lic). Huxley’s Brave New World sim­i­lar­ly sit­u­ates human­i­ty in a caste sys­tem, sub­or­di­nat­ed to tech­nol­o­gy and sub­dued with med­ica­tion.

While Huxley’s utopia has erad­i­cat­ed the nuclear fam­i­ly and nat­ur­al human reproduction—thus solv­ing a pop­u­la­tion crisis—it is still a soci­ety ruled by the ideas of found­ing fathers: Hen­ry Ford, H.G. Wells, Freud, Pavlov, Shake­speare, Thomas Robert Malthus. If you want­ed to know, in the ear­ly 20th cen­tu­ry, what the future would be like, you’d typ­i­cal­ly ask a famous man of ideas. Red­book mag­a­zine did just that in 1950, writes Matt Novak at Pale­o­fu­ture; they “asked four experts—curiously all men, giv­en that Red­book was and is a mag­a­zine aimed at women—about what the world may look like fifty years hence.”

One of those men was Hux­ley, and in his answers, he draws on at least two of Brave New World’s intel­lec­tu­al founders, Ford and Malthus, in pre­dic­tions about pop­u­la­tion growth and the nature of work. In addi­tion to the ever-present threats of war, Hux­ley first turns to the Malthu­sian prob­lems of over­pop­u­la­tion and scarce resources.

Dur­ing the next fifty years mankind will face three great prob­lems: the prob­lem of avoid­ing war; the prob­lem of feed­ing and cloth­ing a pop­u­la­tion of two and a quar­ter bil­lions which, by 2000 A.D., will have grown to upward of three bil­lions, and the prob­lem of sup­ply­ing these bil­lions with­out ruin­ing the planet’s irre­place­able resources.

As Novak points out, Huxley’s esti­ma­tion is “less than half of the 6.1 bil­lion that would prove to be a real­i­ty by 2000.” In order to address the prob­lem of feed­ing, hous­ing, and cloth­ing all of those peo­ple, Hux­ley must make an “unhap­pi­ly… large assumption—that the nations can agree to live in peace. In this event mankind will be free to devote all its ener­gy and skill to the solu­tion of its oth­er major prob­lems.”

“Huxley’s pre­dic­tions for food pro­duc­tion in the year 2000,” writes Novak, “are large­ly a call for the con­ser­va­tion of resources. He cor­rect­ly points out that meat pro­duc­tion can be far less effi­cient than using agri­cul­tur­al lands for crops.” Hux­ley rec­om­mends sus­tain­able farm­ing meth­ods and the devel­op­ment of “new types of syn­thet­ic build­ing mate­ri­als and new sources for paper” in order to curb the destruc­tion of the world’s forests. What he doesn’t account for is the degree to which the over­whelm­ing greed of a pow­er­ful few would dri­ve the exploita­tion of finite resources and hold back efforts at sus­tain­able design, agri­cul­ture, and energy—a sit­u­a­tion that some might con­sid­er an act of war.

But Hux­ley’s utopi­an pre­dic­tions depend upon putting aside these com­pli­ca­tions. Like many mid-cen­tu­ry futur­ists, he imag­ined a world of increased leisure and greater human ful­fill­ment, but he “sees that poten­tial for bet­ter work­ing con­di­tions and increased stan­dards of liv­ing as obtain­able only through a sus­tained peace.” When it comes to work, Hux­ley’s fore­casts are part­ly Fordist: Advances in tech­nol­o­gy are one thing, but “work is work,” he writes, “and what mat­ters to the work­er is nei­ther the prod­uct nor the tech­ni­cal process, but the pay, the hours, the atti­tude of the boss, the phys­i­cal envi­ron­ment.”

To most office and fac­to­ry work­ers in 2000 the appli­ca­tion of nuclear fis­sion to indus­try will mean very lit­tle. What they will care about is what their fathers and moth­ers care about today—improvement in the con­di­tions of labor. Giv­en peace, it should be pos­si­ble, with­in the next fifty years, to improve work­ing con­di­tions very con­sid­er­ably. Bet­ter equipped, work­ers will pro­duce more and there­fore earn more.

Unfor­tu­nate­ly, Novak points out, “per­haps Huxley’s most inac­cu­rate pre­dic­tion is his assump­tion that an increase in pro­duc­tiv­i­ty will mean an increase in wages for the aver­age work­er.” Despite ris­ing prof­its and effi­cien­cy, this has proven untrue. In a Freudi­an turn, Hux­ley also pre­dicts the decen­tral­iza­tion of indus­try into “small coun­try com­mu­ni­ties, where life is cheap­er, pleas­an­ter and more gen­uine­ly human than in those breed­ing-grounds of mass neu­ro­sis…. Decen­tral­iza­tion may help to check that march toward the asy­lum, which is a threat to our civ­i­liza­tion hard­ly less grave than that of ero­sion and A‑bomb.”

While tech­no­log­i­cal improve­ments in mate­ri­als may not fun­da­men­tal­ly change the con­cerns of work­ers, improve­ments in robot­ics and com­put­er­i­za­tion may abol­ish many of their jobs, leav­ing increas­ing num­bers of peo­ple with­out any means of sub­sis­tence. So we’re told again and again. But this was not yet the press­ing con­cern in 2000 that it is for futur­ists just a few years lat­er. Per­haps one of Huxley’s most pre­scient state­ments takes head-on the issue fac­ing our cur­rent society—an aging pop­u­la­tion in which “there will be more elder­ly peo­ple in the world than at any pre­vi­ous time. In many coun­tries the cit­i­zens of six­ty-five and over will out­num­ber the boys and girls of fif­teen and under.”

Pen­sions and a point­less leisure offer no solu­tion to the prob­lems of an aging pop­u­la­tion. In 2000 the younger read­ers of this arti­cle, who will then be in their sev­en­ties, will prob­a­bly be inhab­it­ing a world in which the old are pro­vid­ed with oppor­tu­ni­ties for using their expe­ri­ence and remain­ing strength in ways sat­is­fac­to­ry to them­selves, and valu­able to the com­mu­ni­ty.

Giv­en the decrease in wages, ris­ing inequal­i­ty, and loss of home val­ues and retire­ment plans, more and more of the peo­ple Hux­ley imag­ined are instead work­ing well into their sev­en­ties. But while Hux­ley failed to fore­see the pro­found­ly destruc­tive force of unchecked greed—and had to assume a per­haps unob­tain­able world peace—he did accu­rate­ly iden­ti­fy many of the most press­ing prob­lems of the 21st cen­tu­ry. Eight years after the Red­book essay, Hux­ley was called on again to pre­dict the future in a tele­vi­sion inter­view with Mike Wal­lace. You can watch it in full at the top of the post.

Wal­lace begins in a McCarthyite vein, ask­ing Hux­ley to name “the ene­mies of free­dom in the Unit­ed States.” Hux­ley instead dis­cuss­es “imper­son­al forces,” return­ing to the prob­lem of over­pop­u­la­tion and oth­er con­cerns he addressed in Brave New World, such as the threat of an over­ly bureau­crat­ic, tech­no­crat­ic soci­ety too heav­i­ly depen­dent on tech­nol­o­gy. Four years after this inter­view, Hux­ley pub­lished his final book, the philo­soph­i­cal nov­el Island, in which, writes Vel­ma Lush, the evils he had warned us about, “over-pop­u­la­tion, coer­cive pol­i­tics, mil­i­tarism, mech­a­niza­tion, the destruc­tion of the envi­ron­ment and the wor­ship of sci­ence will find their oppo­sites in the gen­tle and doomed Utopia of Pala.”

The utopia of IslandHuxley’s wife Lau­ra told Alan Watts—is “pos­si­ble and actu­al… Island is real­ly vision­ary com­mon sense.” But it is also a soci­ety, Hux­ley trag­i­cal­ly rec­og­nized, made frag­ile by its unwill­ing­ness to con­trol human behav­ior and pre­pare for war.

Note: An ear­li­er ver­sion of this post appeared on our site in 2016.

via Pale­o­fu­ture

Relat­ed Con­tent:

Hux­ley to Orwell: My Hell­ish Vision of the Future is Bet­ter Than Yours (1949)

Zen Mas­ter Alan Watts Dis­cov­ers the Secrets of Aldous Hux­ley and His Art of Dying

Hear Aldous Hux­ley Read Brave New World. Plus 84 Clas­sic Radio Dra­mas from CBS Radio Work­shop (1956–57)

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

 

John Locke’s Personal Pancake Recipe: “This Is the Right Way” to Make the Classic Breakfast Treat

No stu­dent of West­ern polit­i­cal phi­los­o­phy can ignore John Locke, whose work defined the con­cepts of gov­er­nance we now know as lib­er­al­ism. By the same token, no stu­dent of West­ern cui­sine can ignore pan­cakes, a canon­i­cal ele­ment of what we now know as break­fast. The old­est pan­cake recipe we’ve fea­tured here on Open Cul­ture dates to 1585. Ernest Hem­ing­way had his own pre­ferred pan­cake-mak­ing method; so do Simon and Gar­funkel, though theirs are of the pota­to vari­ety.

Locke, as you might imag­ine, opt­ed for a more tra­di­tion­al­ly Eng­lish recipe. Three cen­turies on, how well his vision of lib­er­al­ism has held up remains a mat­ter of active debate. As for his pan­cakes, Maris­sa Nicosia at Cook­ing in the Archives put them to the test just last year. “When David Armitage post­ed this recipe for pan­cakes in the Bodleian col­lec­tion on Twit­ter, I knew that I want­ed to try it,” Nicosia writes. Her tran­scrip­tion is as fol­lows:

pan­cakes
Take sweet cream 3/4 + pint. Flower a
quar­ter of a pound. Eggs four 7 leave out two 4 of
the whites. Beat the Eggs very well. Then put in
the flower, beat it a quar­ter of an how­er. Then
put in six spoon­fulls of the Cream, beat it a litle
Take new sweet but­ter half a pound. Melt it to oyle, &
take off the skum, pow­er in all the clear by degrees
beat­ing it all the time. Then put in the rest of
your cream. beat it well. Half a grat­ed nut­meg
& litle orange­flower water. Frie it with­out but­ter.
This is the right way

“From the start, I was intrigued by the cross-outs and oth­er notes in the recipe. It appears that it was first draft­ed (or pre­pared) using sig­nif­i­cant­ly few­er eggs.” As metic­u­lous in his cook­ing as in his phi­los­o­phy, Locke clear­ly paid close atten­tion to “the details of sep­a­rat­ing and whisk­ing eggs as well as adding just the right amount of orange blos­som water (‘litle’) and nut­meg (‘Half a grat­ed nut­meg’) — an excep­tion­al, expen­sive amount.”

Draw­ing on her sig­nif­i­cant expe­ri­ence with ear­ly mod­ern pan­cakes, Nicosia describes Lock­e’s ver­sion as “a bit fluffi­er and fat­ti­er than a clas­sic French crêpe,” though with “far less rise than my favorite Amer­i­can break­fast ver­sion”; her hus­band places them “some­where between a clas­sic Eng­lish pan­cake and a Scotch pan­cake.” Per­haps that some­what norther­ly taste and tex­ture stands to rea­son, in light of the con­sid­er­able influ­ence Lock­e’s non-pan­cake-relat­ed work would lat­er have on the Scot­tish Enlight­en­ment.

The final line of Lock­e’s recipe, “This is the right way,” may sound a bit stern in con­text today. But whether you work straight from his orig­i­nal or from the updat­ed ver­sion Nicosia pro­vides in her post, you should end up with “pan­cakes made for a deca­dent break­fast.” Lock­e’s inclu­sion of an extrav­a­gant amount of nut­meg and splash of orange-blos­som water “ele­vates this spe­cif­ic pan­cake recipe to a spe­cial treat.” Nicosia includes a pic­ture of her own hon­ey-driz­zled Lock­ean break­fast with the a copy of Two Trea­tis­es of Gov­ern­ment and a cup of cof­fee — the lat­ter being an espe­cial­ly ide­al accom­pa­ni­ment to pan­cakes, and one that also comes thor­ough­ly philoso­pher-endorsed.

via Rare Cook­ing

Relat­ed con­tent:

Intro­duc­tion to Polit­i­cal Phi­los­o­phy: A Free Online Course from Yale Uni­ver­si­ty

Hobbes, Locke & Rousseau: An Ani­mat­ed Intro­duc­tion to Their Polit­i­cal The­o­ries

The Polit­i­cal Thought of Con­fu­cius, Pla­to, John Locke & Adam Smith Intro­duced in Ani­ma­tions Nar­rat­ed by Aidan Turn­er

What Makes Us Human?: Chom­sky, Locke & Marx Intro­duced by New Ani­mat­ed Videos from the BBC

A 1585 Recipe for Mak­ing Pan­cakes: Make It Your Sat­ur­day Morn­ing Break­fast

Tast­ing His­to­ry: A Hit YouTube Series Shows How to Cook the Foods of Ancient Greece & Rome, Medieval Europe, and Oth­er Places & Peri­ods

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.

Martin Heidegger Talks Philosophy with a Buddhist Monk on German TV (1963)

Mar­tin Hei­deg­ger is often called the most impor­tant philoso­pher of the 20th cen­tu­ry. I’m not in a posi­tion to eval­u­ate this claim, but his influ­ence on con­tem­po­rary and suc­ces­sive Euro­pean and Amer­i­can thinkers is con­sid­er­able. That influ­ence spread all the way to Thai­land, where Bud­dhist monk and uni­ver­si­ty pro­fes­sor Bhikku Maha Mani came to think of Hei­deg­ger as “the Ger­man philoso­pher.” (A con­cep­tion, writes Otto Poggel­er in an essay on Hei­deg­ger and East­ern thought, that may have “per­vert­ed the monk’s want­i­ng to talk” to the philoso­pher, “since phi­los­o­phy nev­er lets itself be embod­ied in an idol.”) The Bud­dhist monk, also a radio pre­sen­ter who lat­er left his order to work for Amer­i­can tele­vi­sion, met the Ger­man philoso­pher in 1963 for an inter­view on Ger­man TV sta­tion SWR. Maha Mani asks his ques­tions in Eng­lish, Hei­deg­ger responds in Ger­man. See the first part of the inter­view above, the sec­ond below.

This was not at all the first time the Ger­man philoso­pher had dia­logued with an East Asian thinker. In a study on the Bud­dhist and Taoist influ­ences on Heidegger’s work, Rein­hold May writes that Heidegger’s “direct con­tact with East Asian thought dates back at least as far as 1922” when he began con­ver­sa­tions with sev­er­al major Japan­ese thinkers. Nonethe­less, Hei­deg­ger appar­ent­ly had lit­tle to say on the cor­re­spon­dences between his ideas and those of East­ern philoso­phers until the 1950s, and the lit­tle that he did say seems mar­gin­al at best to his main body of work.

May’s claims of “hid­den influ­ence” may be high­ly exag­ger­at­ed, yet Hei­deg­ger was famil­iar with Bud­dhist thought, and, in the inter­view, he makes some inter­est­ing dis­tinc­tions and com­par­isons. In answer to the Bhikku’s first, very gen­er­al, ques­tion, Hei­deg­ger launch­es into his famil­iar refrain—“one ques­tion was nev­er asked [in “Occi­den­tal” phi­los­o­phy], that is, the ques­tion of Being.” Hei­deg­ger defines “the human being” as “this essence, that has lan­guage,” in con­trast to “the Bud­dhist teach­ings,” which do not make “an essen­tial dis­tinc­tion, between human beings and oth­er liv­ing things, plants and ani­mals.” For Hei­deg­ger, consciousness—“a know­ing rela­tion to Being” through language—is the exclu­sive pre­serve of humans.

In the sec­ond part of the inter­view (read a tran­script here), Bhikku Maha Mani asks Hei­deg­ger what he thinks about the con­tra­dic­to­ry West­ern ten­den­cy to iden­ti­fy peo­ple with­out reli­gion as “com­mu­nists” and those who live “accord­ing to reli­gious rules” as insane. Hei­deg­ger responds that reli­gion, in its most rad­i­cal sense, sim­ply means “a bond­ing-back to pow­ers, forces and laws, that super­sede human capa­bil­i­ty.” In this respect, he says, “no human being is with­out reli­gion,” whether it be “the belief in sci­ence” of com­mu­nists or “an athe­is­tic reli­gion, name­ly Bud­dhism, that knows no God.” Hei­deg­ger goes on to explain why he sees lit­tle pos­si­bil­i­ty of “imme­di­ate and sim­ple under­stand­ing” between peo­ple of dif­fer­ent reli­gions, philoso­phies, and polit­i­cal groups. While it may be tempt­ing to view Heidegger’s work—and that of oth­er phe­nom­e­no­log­i­cal, exis­ten­tial, or skep­ti­cal philosophers—as work­ing in tan­dem with much East­ern thought, as per­haps “the” Ger­man philoso­pher him­self would cau­tion, the dif­fer­ences are sig­nif­i­cant. In the inter­view above, Hei­deg­ger large­ly faults Ger­many and “all of Europe in gen­er­al” for a gen­er­al lack of human har­mo­ny: “We do not have any clear, com­mon and sim­ple rela­tion to real­i­ty and to our­selves,” he says. “That is the big prob­lem of the West­ern world.”

Cours­es on Hei­deg­ger’s phi­los­o­phy can be found in our col­lec­tion of Free Online Phi­los­o­phy Cours­es, part of our larg­er col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Note: An ear­li­er ver­sion of this post appeared on our site in 2014.

Relat­ed Con­tent:

The Love Let­ters of Han­nah Arendt and Mar­tin Hei­deg­ger

Heidegger’s “Black Note­books” Sug­gest He Was a Seri­ous Anti-Semi­te, Not Just a Naive Nazi

“Hei­deg­ger in the Kitchen”: Alain de Botton’s Video Essay Explains the Philosopher’s Con­cept of Being

The Philosophy of Games: C. Thi Nguyen on the Philosophy vs. Improv Podcast

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Thi Nguyen (pro­nounced “TEE NWEEN”) teach­es at the Uni­ver­si­ty of Utah, and his first book, 2020’s Games: Agency as Art, makes a case for games being treat­ed as a seri­ous object of study for phi­los­o­phy. Thi sees game analy­sis as not just a sub-divi­sion in the phi­los­o­phy of art (aes­thet­ics), but in the phi­los­o­phy of action. How do games relate to oth­er human activ­i­ties with con­straints, like cus­toms, lan­guage, and more specif­i­cal­ly per­for­ma­tive acts with­in lan­guage (like say­ing “I do” dur­ing a mar­riage cer­e­mo­ny, where you’re not just describ­ing that you do some­thing, but actu­al­ly tak­ing action)?

On this record­ing (episode 24 of the pod­cast), Thi joins phi­los­o­phy pod­cast­er Mark Lin­sen­may­er of The Par­tial­ly Exam­ined Life and impro­vi­sa­tion­al com­e­dy coach Bill Arnett of the Chica­go Improv Stu­dio to talk about games and improv, and to engage in a cou­ple of improv scenes that explore the con­nec­tion between the two.

This is the third phi­los­o­phy guest for the Phi­los­o­phy vs. Improv pod­cast, which alter­nates between guests from the improv world, guests from the phi­los­o­phy world, and no guest at all. The over­all for­mat involves a les­son from each host, which they teach to each oth­er (and the guest) simul­ta­ne­ous­ly. This often results in unex­pect­ed syn­chronic­i­ty giv­en the con­nec­tions between two dis­ci­plines that stress the analy­sis of lan­guage, liv­ing delib­er­ate­ly, and quick think­ing.

For anoth­er philo­soph­i­cal­ly rich episode, see episode #20 in which St. Lawrence Uni­ver­si­ty’s Jen­nifer L. Hansen appeared to dis­cuss the many aspects of the con­cept of “The Oth­er” in phi­los­o­phy.

Phi­los­o­phy vs. Improv is a pod­cast host­ed by Mark Lin­sen­may­er, who also hosts The Par­tial­ly Exam­ined Life Phi­los­o­phy Pod­cast, Pret­ty Much Pop: A Cul­ture Pod­cast, and Naked­ly Exam­ined Music

How Pulp Fiction Uses the Socratic Method, the Philosophical Method from Ancient Greece

No soon­er did Pulp Fic­tion open in the­aters than its direc­tor, a young for­mer video-store clerk named Quentin Taran­ti­no, became the new auteur to beat. Draw­ing from a vari­ety of cin­e­mat­ic tra­di­tions both high and low, Taran­ti­no’s break­out film showed main­stream audi­ences things they’d nev­er seen before, or at least in com­bi­na­tions they’d nev­er seen before. Its dia­logue in par­tic­u­lar was often cit­ed as an exam­ple of Taran­ti­no’s sheer film­mak­ing vital­i­ty. And so it remains: recall how many times, over the past few decades, you’ve heard lines quot­ed just from the con­ver­sa­tion ear­ly in Pulp Fic­tion between John Tra­vol­ta and Samuel L. Jack­son’s black-suit­ed hit men Vin­cent Vega and Jules Win­n­field.

It’s thanks to this pas­sage of Taran­ti­no’s script that even Amer­i­cans know the name of the French equiv­a­lent of McDon­ald’s Quar­ter Pounder. But a bit lat­er, and with a bit more sub­tle­ty, it also demon­strat­ed to view­ers what’s known as the Socrat­ic method. Such is the premise, any­way, of the Prac­ti­ca­ble video at the top of the post.

Named for its first prac­ti­tion­er, the peri­patet­ic Greek of the fifth-cen­tu­ry B.C. who has since lived in on dia­logues com­posed by his stu­dent Pla­to, the Socrat­ic method has come to be regard­ed as an effec­tive means of get­ting to the truth through con­ver­sa­tion, either with oth­ers or with one­self — or rather, as an effec­tive means of get­ting away with false­hoods: false opin­ions, false con­vic­tions, false beliefs.

Socrates, says Prac­ti­ca­ble’s nar­ra­tor, “would start off ask­ing peo­ple for a def­i­n­i­tion of a term like wis­dom, courage, or jus­tice, and through repeat­ed­ly point­ing out con­tra­dic­tions in their def­i­n­i­tion, and then the con­tra­dic­tions in their adjust­ments to their orig­i­nal def­i­n­i­tion, they would even­tu­al­ly reach a state of admit­ted igno­rance.” Such a process occurs in Pulp Fic­tion when Vin­cent and Jules dis­cuss their gang­ster boss Marsel­lus Wal­lace’s recent killing of a man who dared to give his wife a foot mas­sage. “Jules believes Marsel­lus over­re­act­ed, and Vin­cent believes that Antoine Roc­camo­ra got what was com­ing to him. At this point, we see Vin­cent try to get to the root of why Jules thinks it was an over­re­ac­tion.”

Con­scious­ly or uncon­scious­ly, Vin­cent does so using the Socrat­ic method, which requires first estab­lish­ing an argu­ment, then rais­ing an excep­tion or con­tra­dic­tion, then re-for­mu­lat­ing the argu­ment, and repeat­ing those steps as truth is approached or false­hood escaped. At issue is the inher­ent­ly sex­u­al nature of foot mas­sages. By bring­ing out con­tra­dic­tions in Jules’ own beliefs about them — he gives them to his moth­er, he argues, though he also takes pride in his advanced tech­nique, which he’s nev­er applied to the feet of a man — Vin­cent “can final­ly estab­lish that Marsel­lus’ use of vio­lence was, in fact, jus­ti­fied.” The dia­logue could con­tin­ue, but Taran­ti­no leaves it there, with Jules in the state of inter­nal con­tra­dic­tion Socrates called apo­r­ia. After all, like most of Taran­ti­no’s talk­a­tive char­ac­ters, they’ve got a a job to do.

Relat­ed Con­tent:

Ani­mat­ed Philoso­phers Presents a Rock­ing Intro­duc­tion to Socrates, the Father of Greek Phi­los­o­phy

Allan Bloom’s Lec­tures on Socrates (Boston Col­lege, 1983)

Why Socrates Hat­ed Democ­ra­cies: An Ani­mat­ed Case for Why Self-Gov­ern­ment Requires Wis­dom & Edu­ca­tion

Socrates on TV, Cour­tesy of Alain de Bot­ton (2000)

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

44 Essen­tial Movies for the Stu­dent of Phi­los­o­phy

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 Introduction to the Painting of Caspar David Friedrich, Romanticism & the Sublime

When Denis Vil­leneuve was announced as the direc­tor of the lat­est cin­e­mat­ic adap­ta­tion of Dune, few could have object­ed on aes­thet­ic grounds. The blast­ed sand plan­et of Arrakis, with its storms and worms, demands a sense of the sub­lime; to a unique degree among film­mak­ers work­ing today, the auteur behind Arrival and Blade Run­ner 2049 seemed to pos­sess it. Though long since vul­gar­ized to mean lit­tle more than “high­ly enjoy­able,” sub­lime has his­tor­i­cal­ly denot­ed a rich­er, more com­plex set of qual­i­ties. The sub­lime can be beau­ti­ful, but it must also be in some way fear­some, pos­sessed of “a great­ness beyond all pos­si­bil­i­ty of cal­cu­la­tion, mea­sure­ment, or imi­ta­tion.”

That quote comes straight from the Wikipedia page on “Sub­lime (phi­los­o­phy),” which also promi­nent­ly fea­tures Cas­par David Friedrich’s paint­ing Der Wan­der­er über dem Nebelmeer, or Wan­der­er above the Sea of Fog. Com­plet­ed around 1818, it has become a famil­iar image even to those who know noth­ing of Friedrich’s work — work to which they can receive an intro­duc­tion from the new video above by Evan Puschak, bet­ter known as the Nerd­writer.

Friedrich, he explains, was “asso­ci­at­ed with Ger­man Roman­ti­cism, a ris­ing intel­lec­tu­al and artis­tic move­ment” of the late 18th and ear­ly 19th cen­turies “that sought to recon­nect human­i­ty with feel­ing and spir­i­tu­al­i­ty” after the Enlight­en­ment so desta­bi­lized human­i­ty’s Weltan­schau­ung.

Friedrich’s land­scapes, real­is­ti­cal­ly paint­ed if not nec­es­sar­i­ly faith­ful to real places, “rep­re­sent the pin­na­cle of this move­ment.” They do this by con­vey­ing “the feel­ing he has in the pres­ence of the land­scape, the stag­ger­ing encounter with the divin­i­ty he sees in it. This is the essence of the sub­lime,” which took on spe­cial urgency in an era “when sec­u­lar­ism was threat­en­ing the core of Chris­tian­i­ty.”  More than reli­gion, the Roman­tics thus began to regard nature as awe­some (in the orig­i­nal sense), hum­bling them­selves before the great­ness of land­scapes real and imag­ined. The wan­der­er loom­ing above the sea of fog is actu­al­ly an excep­tion in Friedrich’s work, most of whose human fig­ures are small enough to empha­size “the vast­ness of the ter­rain” — a sub­lime-evok­ing tech­nique that we can still feel work­ing two cen­turies lat­er, Puschak points out, in Vil­leneu­ve’s Dune.

You can pre-order Nerd­writer’s upcom­ing book Escape into Mean­ing: Essays on Super­man, Pub­lic Bench­es, and Oth­er Obses­sions here.

Relat­ed Con­tent:

How Andrew Wyeth Made a Paint­ing: A Jour­ney Into His Best-Known Work Christina’s World

When Our World Became a de Chiri­co Paint­ing: How the Avant-Garde Painter Fore­saw the Emp­ty City Streets of 2020

Why Leonar­do da Vinci’s Great­est Paint­ing is Not the Mona Lisa

Bri­an Eno on Cre­at­ing Music and Art As Imag­i­nary Land­scapes (1989)

New Study: Immers­ing Your­self in Art, Music & Nature Might Reduce Inflam­ma­tion & Increase Life Expectan­cy

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.

Jon Hamm Narrates a Modernized Version of Plato’s Allegory of the Cave, Helping to Diagnose Our Social Media-Induced Narcissism

The Matrix gave a gen­er­a­tion or two rea­son to recon­sid­er, or indeed first to con­sid­er, Pla­to’s alle­go­ry of the cave. That era-defin­ing block­buster’s cav­al­cade of slick visu­al effects came deliv­ered atop a plot about human­i­ty’s hav­ing been enslaved — plugged into a colos­sal machine, as I recall, like an array of liv­ing bat­ter­ies — while con­vinced by a direct-to-brain sim­u­la­tion that it was­n’t. Here in real life, about two and a half mil­len­nia ear­li­er, one of Pla­to’s dia­logues had con­jured up a not-dis­sim­i­lar sce­nario. You can see it retold in the video above, a clip drawn from a form as rep­re­sen­ta­tive of the ear­ly 21st cen­tu­ry as The Matrix’s was of the late 20th: Legion, a dra­mat­ic tele­vi­sion series based on a com­ic book.

“Imag­ine a cave, where those inside nev­er see the out­side world,” says nar­ra­tor Jon Hamm (him­self an icon of our Gold­en Age of Tele­vi­sion, thanks to his lead per­for­mance in Mad Men). “Instead, they see shad­ows of that world pro­ject­ed on the cave wall. The world they see in the shad­ows is not the real world, but it’s real to them. If you were to show them the world as it actu­al­ly is, they would reject it as incom­pre­hen­si­ble.” Then, Hamm sug­gests trans­pos­ing this rela­tion­ship to real­i­ty into life as we know it — or rather, as we two-dimen­sion­al­ly per­ceive it on the screens of our phones. But “unlike the alle­go­ry of the cave, where the peo­ple are real and the shad­ows are false, here oth­er peo­ple are the shad­ows.”

This prop­a­gates “the delu­sion of the nar­cis­sist, who believes that they alone are real. Their feel­ings are the only feel­ings that mat­ter, because oth­er peo­ple are just shad­ows, and shad­ows don’t feel.” And “if every­one lived in caves, then no one would be real. Not even you.” With the rise of dig­i­tal com­mu­ni­ca­tion in gen­er­al and social media in par­tic­u­lar, a great many of us have ensconced our­selves, by degrees and for the most part uncon­scious­ly, inside caves of our own. Over the past decade or so, increas­ing­ly sober­ing glimpses of the out­side world have moti­vat­ed some of us to seek diag­noses of our col­lec­tive con­di­tion from thinkers of the past, such as social the­o­rist Christo­pher Lasch.

“The new nar­cis­sist is haunt­ed not by guilt but by anx­i­ety,” Lasch writes The Cul­ture of Nar­cis­sism. “Lib­er­at­ed from the super­sti­tions of the past, he doubts even the real­i­ty of his own exis­tence” — won­ders, in oth­er words, whether he isn’t one of the shad­ows him­self. Nev­er­the­less, he remains “facile at man­ag­ing the impres­sions he gives to oth­ers, rav­en­ous for admi­ra­tion but con­temp­tu­ous of those he manip­u­lates into pro­vid­ing it,” and depen­dent on “con­stant infu­sions of approval and admi­ra­tion.” Social media has revealed traces of this per­son­al­i­ty, belong­ing to one who “sees the world as a mir­ror of him­self and has no inter­est in exter­nal events except as they throw back a reflec­tion of his own image,” in us all. It thus gives us pause to remem­ber that Lasch was writ­ing all this in the 1970s; but then, Pla­to was writ­ing in the fifth cen­tu­ry B.C.

Relat­ed Con­tent:

Hear John Malkovich Read Plato’s “Alle­go­ry of the Cave,” Set to Music Mixed by Ric Ocasek, Yoko Ono & Sean Lennon, OMD & More

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

Plato’s Cave Alle­go­ry Ani­mat­ed Mon­ty Python-Style

New Ani­ma­tion Explains Sher­ry Turkle’s The­o­ries on Why Social Media Makes Us Lone­ly

The Case for Delet­ing Your Social Media Accounts & Doing Valu­able “Deep Work” Instead, Accord­ing to Com­put­er Sci­en­tist Cal New­port

A 1947 French Film Accu­rate­ly Pre­dict­ed Our 21st-Cen­tu­ry Addic­tion to Smart­phones

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.

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