Aside from the equation it draws between making money and being good, the modern ideal of a successful life posits a further linkage between making m… - Alain de Botton
" "Aside from the equation it draws between making money and being good, the modern ideal of a successful life posits a further linkage between making money and being happy. This latter association rests on … assumptions. First, it is presumed that identifying what will make us happy is not an inordinately difficult task. Just as our bodies typically know what they need in order to be healthy… so, too, the theory goes, can our minds to be relied upon to understand what we should aim for so as to flourish as whole human beings. … Second, it is taken for granted that the enormous range of … consumer goods available to modern civilization is not merely a gaudy, enervating show responsible for stoking desires bearing little relevance to our welfare, but is, rather, a helpful array of potentialities and products, capable of satisfying some of our most important needs.
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About Alain de Botton
Alain de Botton (born 20 December 1969) is a Swiss-born British philosopher and author. His books and television programs discuss various contemporary subjects and themes in a philosophical style, emphasizing philosophy's relevance to everyday life. De Botton comes from a Sephardic Jewish family, originating from a small Castilian town of Boton (now vanished) on the Iberian peninsula.
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Alain De Botton
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Additional quotes by Alain de Botton
The signal danger of life in a godless society is that it lacks reminders of the transcendent and therefore leaves us unprepared for disappointment and eventual annihilation. When God is dead, human beings – much to their detriment – are at risk of taking psychological centre stage. They imagine themselves to be commanders of their own destinies, they trample upon nature, forget the rhythms of the earth, deny death and shy away from valuing and honouring all that slips through their grasp, until at last they must collide catastrophically with the sharp edges of reality. Our secular world is lacking in the sorts of rituals that might put us gently in our place.
There is not much talk about the clouds that are visible up here. No one seems to think it remarkable that somewhere above an ocean we are flying past a vast white candy-floss island that would have made a perfect seat for an angel or even God himself in a painting by Piero della Francesca. In the cabin, no one stands up to announce with requisite emphasis that if we look out the window, we will see that we are flying over a cloud, a matter that would have detained Leonardo and Poussin, Claude and Constable.
A storyteller who provided us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearing us out with repetition, misleading emphases and inconsequential plot lines. It insists on showing us Bardak Electronics, the saftey handle in the car, a stray dog, a Christmas card and a fly that lands first on the rim and then in the centre of the ashtray.
Which explains how the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting wooliness of the present.
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