Waiting on moral excellence

It’s been a while since I’ve worked on my essay on retirement and moral achievement. Originally, I set out with two goals. Firstly, I wanted to be pragmatic about the purpose of the essay (“It’s for the Baby Boomers”), and write with an appropriate sense of urgency. Secondly, I wanted to settle some philosophical scores by blending normative ethics with meta ethics to arrive at a satisfying kind of self-reflection (on the part of the reader). Unfortunately, this pragmatic aim unravels pretty fast as the reader is left to grapple with the irony that the unfinishedness of life is perhaps only surpassed by the inability of philosophy (language itself?) to surmount it.

I still think it’s a worthwhile project. To make progress, perhaps I need a better focus: either I should work on a more tractable philosophical problem or go more boldly into the charlatanry of “self-help” literature. Alas, these are equally tempting options!

A short overview of the essay:

From a great array of possible lives, we have so far, for better or worse, each arrived at one life. But despite a Romantic (if thin) conception of self, the kind of ethics we live by are likely best described as diversefragmented, and incomplete. Why is this the case? And, more to the point, what does it—let’s call it fragmentedness—mean for us? Does it mean we will not be able to be happy, successful, or wise? Or does it mean we may be all those things but that we may be unable to escape the doubt that we are not so? To better understand the experience of retirement, we must first develop a kind of “double vision” of ethics—seeing at once that fragmentedness may be necessary, as well as coming to believe that it is essentially untenable. We will also encounter the deep-seated philosophical problem of whether or not there are such things as “moral facts.”

Shackled to problem-solving

This article in the Times provides a brief introduction to a fad that’s sweeping through Silicon Valley these days: escapism.

Timothy Ferriss, author of “The 4-Hour Workweek”, promotes “pulling the plug” on your fast, information-driven life (though no one, it seems, has actually read the book).

I admit, it sounds exciting, but then the details start to come to light: hiring personal assistants in India (who tells them what to do?), outsourcing your relationships, primarily getting your news from waiters – it’s obviously a very different kind of life.

While self-help gurus come and go, the impulse to “escape 9-5, live anywhere, and join the new rich” never seems to wane. But, for me at least, the thought (and details) of actually succeeding serve more as a grim reminder of how much fun it is to solve real problems. Sure, there’s plenty of ways to live off the fat of the land in modern times, but isn’t it more fun to try and work in an area where the impact of creativity and hard work is important enough to persevere for more than four hours each week?

Gauguin’s artistic quest to achieve moral excellence

The following excerpt is from an unpublished essay on Gauguin (the artist) and Genius (the concept). First explored in a chapter in my doctoral dissertation, my argument is that Gauguin was a highly moral person – in spite of his sometimes reckless and irresponsible actions. I think this is an important counterintuitive case, for it allows us to consider how different (and sometimes competing) aspects of personhood define not only our own conception of morality, but moral philosophy itself.

From the introduction:

Why did middle-aged Paul Gauguin abandon his family and social context to live as a poor, reclusive painter? Could a moral conception be said to have sealed his fate to live in Tahiti as an estranged and unhealthy expatriate until his untimely death? The answer may lie in his artistic oeuvre, which includes over forty self-portraits in several different mediums, including more than twenty oil paintings. Here I argue that his self-portraits, in conjunction with his self-reflection in many letters to his wife and friends, form evidence that a conception of artistic genius became a touchstone of his art and life — a comprehensive conception of “goodness” that shaped his reception of tradition and transformed his whole life into a mythic quest.

Further evidence comes in the form of philosophical context. Romanticism and religion, two influential social currents of the Parisian artworld, fed into Gauguin’s perception of himself as an artist — he was, after all, first persuaded to take his painting seriously by his contemporaries. Reflection on spirituality became a prominent feature of his “artistic consciousness,” and became a theme that ran through his work in self-portraiture. This reflection, against a backdrop of Romantic and religious imagery, led Gauguin to discover a concept of artistic genius — heightened by Romanticism’s obsession with aesthetic transcendence — that especially propelled his artistic and spiritual quests.