The Partially Examined Life Philosophy Podcast

More on The Ethics of Ambiguity (1947), this time on part III. (For Wes Alwan's summary of this book, go here). Ep. 140 laid out man's "ambiguity," but what does that mean in terms of practical decision making? B. talks about the practical paradoxes of dealing with oppression and what it might mean to respect the individual, given that there's no ultimate, pre-existent moral rulebook to guide us, nothing we can point to to excuse the sacrifice of someone to a "greater good." Become a PEL Citizen to listen to the the Aftershow featuring Beauvoir scholar Jennifer Hansen. End song: "Indiscretion (Mess Things Up)" from the 1993 Mark Lint album Spanish Armada: Songs of Love and Related Neuroses.

On The Ethics of Ambiguity (1947), parts I and II. For Wes Alwan's summary of this book, go here. We return to existentialism! Instead of describing our predicament as "absurd," de Beauvoir prefers "ambiguous": We are a biological organism in the world, yet we're also free consciousness transcending the given situation. Truly coming to terms with this freedom means not only understanding that you transcend any label, but also recognizing that your freedom requires the freedom of others. The full foursome discuss whether this attempt to ground an existentialist ethics works. End song: "Reasonably Lonely," by Mark Lint.

On Ain't I a Woman: Black Women and Feminism (1981) and Black Looks: Race and Representation (1992, Intro, Ch. 3, 11). How do these pernicious forces interact? hooks describes black women as having been excluded from both mainstream historical feminism (led by white women) and black civil rights struggles (permeated with patriarchy), and this "silencing" creates challenges for self-actualization and social justice. The solution: media critique of stereotyped images and personally connecting to a historical narrative of liberation. With guest Myisha Cherry, host of the UnMute Podcast. End song: "Stories" by Mark Lint and Steve Petrinko (2011).

We interview John about Seeing Things As They Are (2015). What is perception? Searle says that it's not a matter of seeing a representation, which is then related to things in the real world. We see the actual objects, with no mediation. But then how can there be illusions? Well, it's complicated, but not too complicated, just some funny terminology that this episode will teach you. Searle lays out his theory for us and amusingly dismisses much of the history of philosophy in the first half, and then Mark, Wes, and Dylan continue the discussion to make sure we understood what was just said and chase down some threads of the conversation. End song: "Flesh and Blood" from The MayTricks' Happy Songs Will Bring You Down (1994). We interview John about Seeing Things As They Are (2015). What is perception? Searle says that it's not a matter of seeing a representation, which is then related to things in the real world. We see the actual objects, with no mediation. But then how can there be illusions? Well, it's complicated, but not too complicated, just some funny terminology that this episode will teach you.

On Pierre Bourdieu's Distinction: A Social Critique of the Judgment of Taste (1979), introduction, ch 1 through p. 63, conclusion, and postscript. How do our tastes in music, art, and everything else reflect our social position? This philosophically trained sociologist administered a few detailed questionnaires in 1960s France and used the resulting differences in what people in different classes preferred and how they talked about these preferences to theorize about the role that taste plays in our social games. Featuring guest Tim Quirk of Too Much Joy and recent guest on Mark's Nakedly Examined Music podcast #8. End song: "When She Took Off Her Shirt" from Tim's band Wonderlick's Topless At The Arco Arena (2005).

On Theodor Adorno and Max Horkheimer's "The Culture Industry: Enlightenment as Mass Deception" from Dialectic of Enlightenment (1944), plus Adorno's "Culture Industry Reconsidered" (1963). How does the entertainment industry affect us? Adorno (armed with Marx and Freud) thinks that our "mass culture" is imposed from the top down to lull us into being submissive workers. End song: "All Too Familiar," from around 1992 with all instruments by Mark Linsenmayer, released on The MayTricks.

A whole second discussion on G.F.W. Hegel's Encyclopedia Logic, hitting sections 78–99 on the dialectic and Understanding vs. Reason. Hegel thinks we can use Reason to objectively come up with basic metaphysical categories, but can we really? With guest Amogh Sahu. This continues ep. 134. PEL Citizens can listen to the Aftershow. End song: "Flow" by Gary Lucas and Mark Lint. Listen to Gary interviewed about this instrumental on Nakedly Examined Music #7.

On G.F.W. Hegel's The Science of Logic (1812–1816), §1–§129 and The Encyclopaedia Logic (1817) §1–§25. "Logic" for Hegel is about how thought interacts with the world. Our thoughts about fundamental metaphysical categories bear the same relations to each other as the the categories themselves do. Just take Hegel's many, many words for it! With guest Amogh Sahu. End song: "Procrastination" by Steve Petrinko from The MayTricks' Happy Songs Will Bring You Down (1994). Hear Mark interview Steve on Nakedly Examined Music.

Welcome to Nakedly Examined Music, our first spin-off of PEL. Hear more at nakedlyexaminedmusic.com or find it via iTunes. Mark interviews songwriters about why and how they do what they do. Think of it as applied philosophy. Four episodes are now posted; this cross-post of our pilot features David Lowery of Camper van Beethoven and Cracker talking through three of his songs. He's as well-spoken and full of ideas as many a decent philosopher, so sit back and turn on your active listening function!

On Fromm's The Art of Loving (1956). What is love, really? This psychoanalyst of the Frankfurt school thinks that real love is not something one "falls" into, but is an art, an activity, and doing it well requires a disciplined openness and psychological health. End songs: "Kimmy" (1995) and "Kimmy 2002" by Mark Lint.