Category Archives: Continental philosophy

happiness, for skeptics

Perhaps human beings are designed for a purpose or end, the pursuit of which brings us happiness. Aristotle is a major proponent of this view (“teleology”), and his theory has influenced each of the Abrahamic faiths.

But what if one is skeptical that we have any end, or that pursuing any “telos” promises a good life for us?

One school was already skeptical more than two thousand years ago. The First Noble Truth of Buddhism (the ubiquity of suffering) is incompatible with teleology, and the Buddhist doctrine of Dependent Origination says that things arise just because previous things happened–not for any end.

The Third Noble Truth implies that we can escape permanently and completely from pointless suffering by understanding and transcending our will, thus entering the state variously understood under the word “Nirvana.”

What if one is skeptical of Nirvana as well as teleology? What if one doubts either an end or an exit? Is there anything to gain from the Aristotelian-Abrahamic tradition or from Buddhism?

I think there is much to be learned. I would offer these six points.

1) It is not peace but the turn toward peace that yields our happiness

In “The Poems of our Climate,” Wallace Stevens imagines a pure image that could come from East Asian or European modernist art: “Clear water in a brilliant bowl / Pink and white carnations.” He posits that this image could represent “complete simplicity / Stripped … of all one’s torments.” For a suggestive illustration, consider a “Blue Vase” by Paul Cézanne from 1890 (above), to which I will return later.

Such an image, Stevens says, cannot represent peace or happiness for creatures such as us. It cannot satisfy anyone who has a “never-resting mind.” Since “the imperfect is so hot in us,” our “delight” lies not in pure and permanent simplicity but in those moments of relief that art or nature can offer. In other words, we can never be the brilliant bowl and cut flowers, but we can relish objects that are purer than ourselves.

I paid homage to Stevens’ poem with one of my own that relates my relief at hearing a Bach oboe concerto in my earphones during a flight on a hectic day. “That turn, / For us—with our minds so noisy— / Our delight lies only there.”

This principle has a limitation. Like Stevens’ poetry, it is all about the individual who experiences things. What about all the other sentient creatures who also suffer? We should care about each as much as we care about ourselves. “Without exception, no sufferings belong to anyone. They must be warded off simply because they are suffering” (Šantideva, 8.102-3).

2. Compassion combats suffering

It’s a very small step from understanding the truth of other creatures’ suffering to feeling compassion for those who suffer. The disposition of compassion is grounded in a clear view of reality. That is one argument in its favor.

Another argument is that compassion is what people (and some animals) need from us. Sometimes, they need us to fix their problems, and compassion may necessitate action. But we cannot make others happy or liberate them from suffering, and therefore action rarely suffices. Nor do creatures need pity or that mirroring of emotions that I would call “sympathy.” If you are sad, you don’t want me to be sad sympathetically. You want me to will your relief.

After the Buddha has defeated an elitist student, Ambattha, in a debate, Ambattha’s teacher calls this student a “fool” and says, “Please forgive him.” The Buddha replies, “May the student be happy”: sukhi hotu, a Pali phrase that now serves as a greeting. We want people to extend this wish to us–and to mean it (Long Discourses, Sujato trans. DN3).

A third argument is that compassion can fill one’s mind, replacing the kind of self-oriented will that is (per the Second Noble Truth) the source of suffering. In my skeptical view, compassion can only ever take up some space, leaving room for willfulness and pain to persist, but it is worth expanding.

Universal, undifferentiated compassion is a virtue–perhaps most appropriately a monastic one, because a monk renounces individual attachments. For those of us who deeply prize specific relationships, compassion is not the sole positive emotion that should fill our thoughts. There is also love, which borders compassion but differs by being focused and by needing to be reciprocated.

3. Each mind is a ripple in the river of history

Looking at pink and white carnations, or hearing one’s own breath, or observing someone in pain, we naturally presume that the self is directly experiencing the object. Not so. Our minds are deeply structured by language, judgments, memories, and other cultural inheritances that arose before us and will continue after.

For instance, we enjoy flowers because our predecessors have named, raised, bred, sold, collected, drawn and painted, and praised these particular plants.

At the time of each day that we call sunset, the big ball of rock on which we live is turning so that we can no longer see a huge and remote ball of fire. Yet we experience the sun as moving across our sky toward its “setting,” and we think about closure, sleep, or even death and rebirth. We must think about these things (at least occasionally) at twilight because they are inherent in our languages and stories. Science describes the solar system, but not our experience of it, which has a human past.

It follows that we are never alone. Others speak through us. The stream of thoughts that constitutes a self began before and continues after a person.

There is no reason to presume that the whole stream flows toward happiness or justice. But we do know that the species can accomplish more than any person could in the space of one life. To me, this realization makes some sense of the doctrine that achieving enlightenment requires many lives. And it makes me less attached to my own life and less interested in being original, authentic, or influential. The 13-century Zen teacher Dogen writes:

It is an unshakable teaching in the Buddha’s discourse that death does not turn into birth. … Although there is birth and death in each moment of this life of birth and death, the body after the final body is never known. Even though you do not know it, if you arouse the aspiration for enlightenment, you will move forward on the way of enlightenment. The moment is already here (pp. 116-117).

4. We can do things that have outcomes for their own sake

This is an Aristotelian argument that I owe to Kieran Setiya (2017):

Many of our actions have concrete and immediate goals. We work to make money; we wash the dishes so that they are clean. When we behave this way, it is difficult to escape from suffering because the mind is set on the future, and there is always more to do.

We also do some things for their own sake, like listening to music or watching carnations or paintings of them. But we cannot depend on intrinsically valuable activities to obtain happiness. They are rare for most of us, and if they come to occupy all our time, how can we be compassionate? Only the idle rich can spend their whole lives on intrinsically enjoyable experiences.

The solution is to perform tasks that have objectives as if they were ends in themselves. I can grade papers not to complete the task but to be an educator. This is not always easy, and such an attitude would be harder if I cleaned toilets or processed chickens instead of teaching college students. But it is something to strive for in our own lives and to make more attainable for others.

5. Reality rewards a close and open-minded inquiry

We evolved to have brains that can do many things, but we do not know what we cannot fathom, just as my dog has no idea that he is unaware of politics, cosmology, or Shakespeare. In an entirely abstract way, we know that our reality of suffering, delight, and finitude is not the only reality.

Specifically, we evolved with brains that are not very well designed for understanding consciousness itself. Our minds prove evasive to our minds. Neverthless, highly disciplined and strenuous efforts to describe consciousness yield glimmers that expand our consciousness and bring–if we use them right–some happiness.

Merleau-Ponty begins his essay “Cézanne’s Doubt” this way:

He needed one hundred working sessions for a still life, one hundred and fifty sittings for a portrait. What we call his work was, for him, only an essay, an approach to painting. In September, I906, at the age of 67–one month before his death–he wrote: ‘I was in such a state of mental agitation, in such great confusion that for a time I feared my weak reason would not survive. . . . Now it seems I am better and that I see more clearly the direction my studies are taking. Will I ever arrive at the goal, so intensely sought and so long pursued? I am still learning from nature, and it seems to me I am making slow progress.’

What was Cézanne working so hard to accomplish? According to Merleau-Ponty, he strove to present the experience of nature without the tools that people had created for that task, such as “outline, composition, and distribution of light” and linear perspective. “He was pursuing reality without giving up the sensuous surface, with no other guide than the immediate impression of nature.” For him, “reality” meant neither the object in itself nor the subjective appearance of it, but the way they unite in our experience.

The “Blue Vase” shown above is harmonious and calm, yet close inspection reveals choices that a classically trained painter would avoid. For instance, the base of the vase is perpendicular to the plane of the painting, whereas the table on which it stands tilts down. And the color of the flowers seem to have influenced the shadows, making them bluish.

Similarly, in Stevens’ poem, the color of the bowl infuses the space around it: “The light / In the room more like a snowy air, /
Reflecting snow.”

Such choices are more obvious in an 1880 painting that Cézanne left unfinished (right). Here the vase clearly stands separate from the table, with entirely different vanishing points.

Our experience does not encompass the whole world at once, lining everything up together. We focus on objects that have names and significance for us, then move to other ones. The color of one object depends on its relationship to others. We do not perceive a world made of borders filled with color, but something much more complex and dynamic.

Although the following paragraph from Merleau-Ponty’s essay is not about any particular painting, it could describe Cézanne’s 1880 vase:

Similarly, it is Cézanne’s genius that when the over-all composition of the picture is seen globally, perspectival distortions are no longer visible in their own right but rather contribute, as they do in natural vision, to the impression of an emerging order, of an object in the act of appearing, organizing itself before our eyes. In the same way, the contour of an object conceived as a line encircling the object belongs not to the visible world but to geometry. …. To trace just a single outline sacrifices depth-that is, the dimension in which the thing is presented not as spread out before us but as an inexhaustible reality ful of reserves. That is why Cézanne follows the swelling of the object in modulated colors and indicates several outlines in blue. [Compare the outlines of the flowers above.]

We can attend closely to positive experiences, such as the sight of flowers. We can try to analyze suffering, although that requires impressive equanimity. I am especially interested in the close investigation of states that I find mildly problematic, such as my own regretful and appreciative awareness that a current pleasure is transient. This is roughly the same as mono no aware in Japanese aesthetics, or, as I have named it, “nostalgia for now.” It affords insight into time, just as the phenomenology of other states reveals other truths. And one can focus on other people’s experience or on relational states, including love.

Cézanne’s explorations brought him no happiness, Merleau-Ponty describes the artist’s “fits of temper and depression.” In short, Cézanne was obsessed. Wallace Stevens also devoted his career to a constant exploration of consciousness, and he seems to have been far from happy.

These people failed to balance their expeditions into their own consciousness with concern for other people. Merleau-Ponty says of Cézanne, “His extremely close attention to nature and to color, the inhuman character of his paintings (he said that a face should be painted as an object), his devotion to the visible world: all of these would then only represent a flight from the human world, the alienation of his humanity.” Stevens has a similar tendency and writes, “It is the human that is the alien.” Wisdom requires a combination of intense inner inquiry with care for others.

Exploring consciousness can enhance compassion rather than distract from it, since we can learn to feel the depths of others’ experience. Glimpsing hidden worlds can shake our attachment to our everyday circumstances. And the curiosity that motivates our expeditions into the inner life can supplant anxiety and discontent. But it is more likely that we will obtain happiness by looking at a painting by Cézanne or by reading a poem by Stevens than by trying to be either person. They are not models but they left us gifts, as have many others.

6. We must embody truths, not merely acknowledge them

Important thinkers have provided arguments and reasons for each of the preceding five principles. Although these conclusions cannot be proven from axioms, they can be defended.

However, assenting to a principle of this type or acknowledging the arguments in its favor accomplishes little. One must consistently feel the truth of the idea. That requires practice, ritual, meditation, and other cultivated habits.

To return again to Cézanne’s flowers: it will do no good to glance at them or to read a learned article that explains them. One must take the time to see the object itself, must “come back / To what had been so long composed” in order to realize that “the imperfect is our paradise.”

Sources: Shantideva, The Bodhiicaryacatara, trans. by Kate Crosby and Andrew Skilton (Oxford University Press, 1995); Kazuaki Tanahashi and Peter Levitt, The Essential Dogen: Writings of the Great Zen Master (Shambala); The Long Discourses translated by Bhikkhu Sujato on Suttacentral (2018); Kieran Setiya Midlife (Princeton, 2017); and Maurice Merleau-Ponty, “Cézanne’s Doubt” (1946), in Sense and Non-sense, translated by Hubert L. Dreyfus and Patricia Allen Dreyfus (Northwestern University Press 1964). The paintings are Le Vase bleu (1889-90) in the Musée d’Orsay and Flowers in a Blue Vase (1880) in the Orangerie. I quote the Stevens Poems “The Poems of Our Climate” from Parts of A World and “Less and Less Human, O Savage Spirit” from Transport to Summer.

See also: many previous posts, which I have collected and organized as Cuttings: A Book About Happiness.

Cezanne’s portait of Gustave Geffroy

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In “Cézanne’s Doubt” (1946), Maurice Merleau-Ponty discusses Paul Cézanne’s portrait of the critic Paul Geffroy (1895-6), which led me to some congruent reflections.

Merleau-Ponty notes that the table “stretches, contrary to the laws of perspective, into the lower part of the picture.” In a photograph of M. Geffroy, the table’s edges would form parallel lines that would meet at one point, and the whole object would be more foreshortened. That is how an artist who followed what we call “scientific perspective” would depict the table. Why does Cézanne show it otherwise?

Imagine that you actually stood before Paul Geffroy in his study. You would not instantly see the whole scene. Your eye might settle on your host’s face, then jump to the intriguing statuette next to him. The shelves would at first form a vague pattern in the background. Objects for which you have names, such as books, would appear outlined, as borders filled with color. On the other hand, areas of the fireplace or wall would blend into other areas.

You would know that you could move forward toward M. Geffroy, in which case the table would begin to move below you. Just as you see a flying ball as something moving–not as a round zone of color surrounded by other colors–so you might see the table as something that could shift if you moved your body forward.

A photograph of this real-world scene would be a representation of it, very useful for knowing how M. Geffroy looked in his study, and possibly an attractive object in its own right. But the photo would not represent anyone’s experience of the scene. Instead, it would be something that you could experience, rather like the scene itself, by letting your eye move around it, identifying objects of interest, and gradually adding information. You would experience the photograph somewhat differently from the actual scene because you would know that everything was fixed and your body could not move into the space.

A representation of this scene using perspective’s “laws” would make the image useful for certain purposes–for instance, for estimating the size of the table. Michael Baxandall (1978) argued that Renaissance perspective originated in a commercial culture in which patrons enjoyed estimating the size, weight, and value of objects represented in paintings.

But other systems have different benefits. Here is a print in which Toyoharu Kunichika (1835-1900) uses European perspective for the upper floor and a traditional Chinese system (with lines that remain parallel and objects placed higher if they are further away) for the lower floor. As Toshidama writes, this combination is useful for allowing us to see as many people and events as possible.

Print by Toyoharu Kunichika from Toshidama Japanese Prints

Perspective does not tell us how the world is–not in any simple way. The moon is not actually the size of a window, although it is represented as such in a perspectival picture (East Asian or European). Perspective is a way of representing how we experience the world. And in that respect, it is partial and sometimes even misleading. It overlooks that for us, important things seem bolder; objects can look soft, cold or painful as well as large or small; and some things appear in motion or likely to move, while others seem fixed. We can see a whole subject (such as a French intellectual in his study) and parts of it (his beard), at once and as connected to each other.

Merleau-Ponty writes:

Gustave Geoffrey’s [sic] table stretches into the bottom of the picture, and indeed, when our eye runs over a large surface, the images it successively receives are taken from different points of view, and the whole surface is warped. It is true that I freeze these distortions in repainting them on the canvas; I stop the spontaneous movement in which they pile up in perception and in which they tend toward the geometric perspective. This is also what happens with colors. Pink upon gray paper colors the background green. Academic painting shows the background as gray, assuming that the picture will produce the same effect of contrast as the real object. Impressionist painting uses green in the background in order to achieve a contrast as brilliant as that of objects in nature. Doesn’t this falsify the color relationship? It would if it stopped there, but the painter’s task is to modify all the other colors in the picture so that they take away from the green background its characteristics of a real color. Similarly, it is Cézanne’s genius that when the over-all composition of the picture is seen globally, perspectival distortions are no longer visible in their own right but rather contribute, as they do in natural vision, to the impression of an emerging order, of an object in the act of appearing, organizing itself before our eyes.

The deeper point is that a science of nature is not a science of human experience. Third-person descriptions or models of physical reality are not accounts of how we experience things. And even when we are presented with a scientific description, it is something that we experience. For instance, we actively interpret a photograph or a diagram; we do not automatically imprint all of its pixels. And we listen to a person lecture about science; we do not simply absorb the content.

There are truths that can be expressed in third-person form–for example, that human eyes and brains work in certain ways. But there are also truths about how we experience everything, including scientific claims.

And Cézanne is a scientist of experience.

Quotations from Maurice Merleau-Ponty, “Cézanne’s Doubt” (1946), in Sense and Non-sense, translated by Hubert L. Dreyfus and Patricia Allen Dreyfus (Northwestern University Press 1964); image by Paul Cézanne, public domain, via Wikimedia Commons. The image on the Mus?e d’Orsay’s website suggests a warmer palette, but I don’t know whether it’s open-source. I also refer to Michael Baxandall, Painting and Experience in Fifteenth Century Italy : A Primer in the Social History of Pictorial Style (Oxford, 1978).

Rilke, The Grownup

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The Grownup

All this stood on her and was the world
And stood on her with everything, fear and grace,
As trees stand, growing and straight,
All image and imageless like the Ark. 
And solemnly, as if placed on a people.

And she endured it, bore it--
The flying, escaping, distant,
The immense, not yet learned--
Calm as a woman bearing water
In a full jug. Right in the midst of the game,
Transforming and preparing for something else,
The first white veil, gently gliding,

Fell over her open face
Almost opaque and never lifting again
And somehow to all your questions
Only vaguely offering an answer:
In you, you who has been a child, in you. 

        — Rainer Maria Rilke (trans. by Peter Levine)

The original poem, “Die Erwachsene” from New Poems (1907), is here. The title is the ordinary German word for “adult,” but etymologically, it means “one who has accomplished growth.” Rilke invents a word in his final line, “Kindgewesene,” which I translate here as “one who has been a child.” All of us (even the youngest) are both things at once.

The first lines describe a female person in the past tense. Every reading that I have seen presumes that she is a child, but that is not explicit, and the poem’s title names an adult.

She is with something. The phrase “all this” or “this all” (das alles) suggests that the narrator is referring to everything we perceive, the world. It exceeds representative language–being immense and fleeting–yet it has a heavy weight, which she bears calmly. It is likened to a tree and to the Ark of the Covenant. Trees do not intend anything; they simply grow. The Biblical Ark incorporated golden images of cherubim (Ex. 25:18), but it also contained the written prohibition against graven images, so that it was ganz Bild und bildlos–“all image and imageless.” A tree, the Ark, and perhaps a child are alike in that they have meanings for us but do not intend meanings.

At a specific moment, in the middle of an absorbing activity (a Spiel or game), a second object enters, a veil that descends permanently over this person’s face. Until now, she has seemed oblivious or absorbed in her context, but now there are things that are concealed from her, and vice-versa.

This veil–not the girl or woman–responds unclearly to “your” questions. With this evocation of “you,” there is another person in the poem: presumably, Rilke’s adult reader. The poem advises “you” to look for answers not through a veil but within yourself as someone who has been a child.

We might think of time as a series of instants, of which the present is merely one. That is how the time of clocks and calendars works: a system with which we analyze and control aspects of nature. One year we are children; another, we are grown. But consciousness is not simply located in the present. What we experience at any given moment is a set of meaningful objects that have various durations and histories, often extending into the future as well back into the remembered past. Like the objects that we experience, our selves have histories and hopes. Sometimes we are aware of the kind of time that clocks measure, and sometimes we are absorbed in an activity (bis mitten unterm Spiel) when a sudden change occurs.

Put another way: I am not merely an organism located at a time and a place but also a person who has been a child, who has grown, and who feels the weight of things “not yet learned.” The good and bad things that matter–both fear and grace–extend in time and carry me backward and ahead.

Kant deduced from the fact that we experience objects with duration that there must be a lasting self, but his deduction yielded an “I” that was invisible, simple, and identical for all who reason. As Merleau-Ponty writes, Kant’s argument “rids the world of its opacity and its transcendence. … There is nothing hidden behind … faces and gestures, no domain to which I have no access, merely a little shadow [the self] which owes its very existence to the light” (Merleau-Ponty 1945/2002, xiii).

Looking inward, we should instead find a self that is complicated, dynamic, elusive, and situated. Rilke explores opacity and transcendence in this poem, which is about having both a past and a present.

Quotation from Maurice Merleau-Ponty, Phenomenology of Perception, trans. by Colin Smith (Routledge, 2002). The Rilke translation is mine and misses the tight rhythm and rhyme-scheme of the original. See also: Notes on Gerard Manley Hopkins’ “Spring and Fall“; phenomenology of nostalgia; Kieran Setiya on midlife; three great paintings in dialogue (addressing Rilke’s 5th Duino Elegy); and the sublime is social–with notes on Wordsworth’s “Lines Above Tintern Abbey“.

varieties of skepticism

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If you are a skeptic–or tempted by skepticism–you might want to consider which varieties of skepticism appeal to you and why. Here is a list of types that differ in significant ways:

Pyrrhonian skepticism (named after Pyrro of Elis, ca. 300 BCE, who founded the Skeptical School): A cultivated habit of refusing to believe or disbelieve all important matters, including skepticism itself. Its purpose is to accomplish mental peace by abandoning troubling questions and commitments. It advises the regular use of techniques that reduce our anxiety about the things we might believe or about not knowing what is true. For example, we can rehearse arguments on both sides of important questions to teach ourselves to suspend judgment.
Academic skepticism (the position adopted by the Academy, which Plato founded, but roughly six centuries after his death): A method that employs the arguments invented by the Pyrrhonists to refute the views of other philosophical schools, without a goal of landing in permanent agnosticism or promoting mental health. The term “academic” is apt, because this kind of skepticism is more like a toolkit for specialists than a way of life.
Cartesian skepticism (named after Rene Descartes, although practiced by others before and after him): A philosophical method that begins by doubting everything that is possible to doubt, especially deep and general beliefs, in order to identify any indubitable beliefs, which then become the foundations of a more secure philosophy. Here, the psychological goal is to accomplish certainty, not to escape from belief.
Edmund Husserl’s epoche: A more radical form of Cartesian skepticism, in which the analyst drops all the categories and vocabulary developed in the history of philosophy and tries to describe experience itself without preconditions. Although Husserl’s motives seem academic, there are similarities with meditative techniques that aim to transcend various kinds of dualities; and Husserl admired the Buddhist Pali Canon. As with Cartesian skepticism, the goal is truth, not freedom from belief.
Fallibilism: A belief that I could be wrong, which accompanies my other beliefs. This ancillary belief reminds me to check for errors, hedge against uncertainty, plan cautiously, and revisit assumptions. The psychological goal is more like permanent disquiet than calmness, although it may be possible to enjoy the constant pursuit of truth.
Intellectual humility: If fallibilism is about beliefs, humility is about people. (At least, that is how the words ring for me.) It’s the attitude that people who disagree with me may be right and I may be wrong. Its consequences can include a genuine receptivity to other people’s claims, an investment in generous listening, and a tolerance for rival views. Humility can be uncomfortable if it means self-reproach; but if it means an appreciation for our fellow human beings, it can satisfying.
Organized skepticism (one of the definitive features of science, according to Robert K. Merton): A set of procedures and practices that guide interactions among people who pursue truth together. Examples include double-blind peer-review or replicating other people’s experiments. Many of these techniques are supposed to be proof against the mental state of the scientist. Scientific methods do not attempt to make people humble in their hearts, but rather convert doubt into procedures.
Liberalism as self-correction: This is a cluster of ideas about how to design institutions that begins with worries about our ability to understand, judge, and plan wisely and thus recommends constantly challenging and revising the status quo. Proponents differ in their enthusiasm for elections, adversarial trials, individual rights, debate and deliberation, and/or markets as mechanisms for self-correction. For myself, I prefer a mix of these tools, because then each can check the others.
Specific distrust: This is belief that a given belief, person, group, or institution is probably wrong. It can be warranted, based on evidence–such as a record of lying or incompetence–or it can itself be mistaken. Unlike doubt about a belief, which is about content, distrust focuses on the source. If I say P, and you think not-P, that is a disagreement. But if you think, “I doubt that guy Peter Levine would be right about P,” that is distrust.
Social distrust: This is a variable measured by social scientists, and one classic measure is a question about trusting other people that has been included on the General Social Survey for decades (see the graph below). Although the question is vague and does not distinguish among kinds of trust or categories of people, individuals’ responses predict many valuable outcomes. Thus the measure is conceptually vague yet empirically valid. Distrust is a character trait that can be affected by social circumstances.
Institutional distrust: In contrast to a view that a specific institution should not be trusted, this is a general stance of skepticism about the influential institutions of a society, or at least a wide swath of them. It does not accept that institutions exhibit organized skepticism or liberal self-correction but takes them to be self-interested or even hostile. Like social distrust, this is a character trait that relates to social circumstances.

To put my own cards on the table: I admire fallibilism, humility, and institutionalized skepticism, in both science and politics. I accept that they can promote disquiet, but discomfort may be necessary for responsible action.

I also think there is a limited wisdom in Pyrrhonism. Although radical skepticism encourages passivity and removes motivations to care about other people, Pyrrhonist techniques for promoting doubt can counter anxiety and what Keats called an "irritable reaching after fact and reason." We need to know when to pursue truth and when to let it go. Furthermore, recognizing that there are matters beyond our ability to know or to capture in language is (for me) a source of comfort.

Specific distrust can be warranted, although we should strive to replace doubt about the source of a given claim with justified doubt about the claim itself. Disbelieving something because of who said it is an ad hominem argument, which is a logical fallacy. It is better to consider whether the claim is valid or not. The problem in the modern world is that no individual can assess most important beliefs, because they depend on countless people's previous contributions. To a large extent, we must trust or distrust the messenger, such as a teacher, physician, or engineer. And, in turn, that messenger learned from other specialists, who learned from others. The whole structure depends on trust.

Distrusting other people and institutions is understandable. The solution is not to hector people that they should trust more. Nevertheless, general distrust is harmful. It robs people of the advantages of modernity, such as the results of science.

An optimist might hope that by making institutions actually more fallibilist and self-correcting, we can encourage wider trust. However, in a world of propaganda and ideology--and deep inequality--such solutions may fail, and people may continue to distrust ideas that merit their belief.

One more version of skepticism is my favorite:

Michel de Montaigne read the Skeptics, particularly a 1562 translation of Sextus. He remained an active participant in public life--indeed, much better respected as a statesman than a writer during his own lifetime. However, his moderate skepticism influenced his politics. "I am firmly attached to the sanest of the parties, but I do not desire to be particularly known as the enemy of the others beyond what is generally reasonable" (1145). "During the present confusion in this State of ours my own interest has not made me fail to recognize laudable qualities in our adversaries nor reprehensible ones among those whom I follow" (1114). He felt that he had generally done his civic duty (1115), yet he reserved most of his time for private reflection. And in that domain, he avoided trying to know what was true (or whether previous authors were right or wrong) but rather made a study of himself. "I would rather be an expert on myself than on Cicero" (1218). When he looked within, he found numerous inconsistencies and imperfections. Rather than making him dissatisfied or irritable, these explorations gave him some "peace of mind and happiness" (1153). His equanimity palpably improved between "To Study Philosophy is to Learn to Die" (before 1580) and "Of Experience" (ca. 1590).

I quote Montaigne from M.A. Screech's translation. See also: Foucault’s spiritual exercises; does skepticism promote a tranquil mind?; Montaigne and Buddhism; against the idea of viewpoint diversity; Cuttings version 2.0: a book about happiness; thinking both sides of the limits of human cognition

Foucault the engaged scholar

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I admit that I had long understood Michel Foucault as a “universal intellectual” — a thinker who conveys an original and general stance to the public, the nation, or the masses, serving as their conscience. If this intellectual is radically critical of the status quo, and his audience is the whole public, then the implication is: Revolution! Examples of revolutionary universal intellectuals include Rousseau, Marx, and Sartre.

Placed in that tradition, Foucault can be frustrating. He held a distinctive and original (albeit evolving) stance, he participated in radical politics in Tunisia and France, and he reached a global audience, yet he eschewed recommendations and explicit moral judgments. He seemed to conceal his own views, to the extent that he held them.

My take on Foucault has been changed (and my appraisal has been much improved) by reading three interviews conducted between 1976 and 1981 that are included in Rabinow’s and Rose’s The Essential Foucault anthology. These conversations have also revised my understanding of his major works.

In the 1976 interview, Foucault describes “universal intellectuals” as I did at the start of this post, but he says that “some years have passed since the intellectual has been called upon to play this role” (1976, 312). A universal intellectual works alone and addresses everyone. In contrast, a “specific intellectual”–a type that emerges after World War II (1976, 313)–works within an institution where knowledge and power come together. Examples include nuclear physicists, psychiatrists, social workers, magistrates, administrators, planners, and educators. They possess genuine knowledge that gives them influence. Since the failed revolution of 1968, it has become clear that beneficial social change depends on them, not on revolutionaries who fight the state (1976, 305). Specific intellectuals are becoming politically conscious and connected across disciplines and national borders (1976, 313).

And Foucault works with them. He doesn’t go into much detail about his own activities in these interviews, but we know that psychiatrists have read his works about mental illness and sexuality, prison administrators have read his book on prisons, and people who train professionals have assigned his texts; and he acknowledges their influence on him. Thus his audience is not “the people,” and his contribution is not a philosophy. Instead, he is a professional historian who contributes information and insights to various conversations that are also informed by the behavioral and social sciences and law.

In a 1981 interview, Didier Erihon suggests that “criticism carried about by intellectuals doesn’t lead to anything” (1981, 171). This is meant as a challenge to Foucault, whom Erihon assumes is an intellectual.

Foucault first notes that the previous twenty years have seen substantial changes–beneficial ones, I presume–in views of mental illness, imprisonment, and gender relations, issues on which he had worked intensively.

Next, he observes that progress does not result from political decisions alone; any policy requires implementation, and its impact depends on the people who implement it. At any rate, that is how I would gloss these words:

Furthermore, there are no reforms in themselves. Reforms do not come about in empty space, independently of those who make them. One cannot avoid considering those who will have to administer this transformation (1981, 171).

It follows that to influence the “assumptions” and “familiar notions” of practitioners is “utterly indispensable for any transformation” (172). (Compare my recent post on institutions).

Foucault concludes his response by criticizing the ways that universal intellectuals (whether famous or aspiring to fame) typically criticize society. He says, “A critique does not consist in saying that things aren’t good the way they are. …. Criticism consists in uncovering [everyday] thought and trying to change it” (1981, 172).

The key point, for me, is that “trying to change” something requires a strategy, and Foucault wants to abandon the strategy of changing everything all at once by telling The People that society is bad and should be different. His alternative strategy is to engage well-placed practitioners.

In the 1980 interview, Foucault elaborates his doubts about criticism that takes the form of denouncing existing things, ideas, or people:

It’s amazing how people like judging. Judgment is being passed everywhere, all the time. Perhaps its one of the simplest things mankind has been given to do. And you know very well that the last man, when radiation has finally reduced his last enemy to ashes, will sit down behind some rickety table and begin the trial of the individual responsible (1980, 176).

Foucault diagnoses Parisian intellectuals’ love of denouncing each other as a result of their “deep-seated anxiety that one will not be heard or read.” This anxiety motivates the “need to wage an ‘ideological struggle’ or to root out ‘dangerous thoughts'” (1980, 177).

The interviewer counters, “But don’t you think our period is really lacking in great writers and minds capable of dealing with its problems?” (1980, 177). Later, the same interviewer asks, “If everything is going badly, how do we make a start?” (1980, 178).

Foucault resists both pessimistic premises. “But everything isn’t going badly,” he exclaims (1980, 178). He describes a “plethora,” an “overabundance” of interesting ideas and people who have pent-up curiosity. The task, he proposes, is to “multiply the channels, the bridges, the means of information” so that more people with “thirst for knowledge” can learn from more other people (1980, 177).

In a passage that reminds me of Dewey’s The Public and its Problems (1924), Foucault describes his “dream of a new age of curiosity” (1980, 178). He says, “I like the word [curiosity]. It evokes ‘care’; it evokes the care one takes of what exists and what might exist.” (1980, 177). In the age of curiosity that he envisions, “people must be constantly able to plug into culture in as many ways as possible” (178-9).

Given Foucault’s understanding of his own role as a “specific intellectual,” he must have been at least somewhat concerned about his reputation. He was not only a historical specialist who helped fellow practitioners to become conscious of shared prejudices and to discover alternatives. He was also (and mainly) a world-famous French philosopher, a purported representative of movements like post-structuralism and postmodernism, whose public lectures on general subjects in venues like the Collège de France and UC-Berkeley were packed with aspiring philosophers, and whose interviews about the condition of the world were published in Le Monde and Libération.

I am not sure how he navigated this tension, not having read the biographies. But it’s clear that it worried him. In the 1980 interview, part of a series on major intellectuals in Le Monde, Foucault asks not to be named. The interview (still archived on Le Monde’s website), is headlined, “The Masked Philosopher.” It begins:

Here is a French writer of some renown. Author of several books whose success has been affirmed well beyond our borders, he is an independent thinker: he is not linked to any fashion, to any party. However, he only agreed to grant us an interview about the status of the intellectual and the place of culture and philosophy in society on one explicit condition: to remain anonymous. Why this discretion? Out of modesty, calculation or fear? The question deserved to be asked–even if, by the end of this conversation, the mystery will undoubtedly have dissipated for the most perceptive of our readers…

Foucault explains that he would like to try being anonymous “out of nostalgia for a time when, since I was quite unknown, what I said had some chance of being heard” (my translation). In other words, we cannot hear Foucault well unless we shake the model of a famous thinker who offers big ideas. He wants us, instead, to ask whether the claims about specific phenomena that we find in his works ring true or false and whether they are useful or not for our purposes.

Sources: Michel Foucault, “Truth and Power” (1976), “The Masked Philosopher” (1980), and “So is it Important to Think?” (1981), all in Paul Rabinow and Nikolas Rose, The Essential Foucault (The New Press, 2003), but I retranslated the 1980 interview myself because of a misplaced modifier in the anthology. See also: Vincent Colapietro, “Foucault’s Pragmatism and Dewey’s Genealogies: Mapping Our Historical Situations and Locating Our Philosophical Maps,” Cognitio, 13/2 (2012), p. 187-218; Foucault’s spiritual exercises; does skepticism promote a tranquil mind?; and Civically Engaged Research in Political Science