The narrative element of philosophy

A narrative element is essential to philosophy, because nothing gets going in it without some vision, some story about what the world, or the subject, is like. The argumentative element can only structure the story from the inside; it can never prove it true. And, whatever clarification arguments provide for the story, the latter remains in all its ambiguous glory, ready to originate new arguments and to spawn new visions.

Chinese philosophy: The philosopher as activist

In contemporary academic philosophy, Chinese Philosophy remains a niche. This has a lot to do with its presentation, which often creates an impression of alienness and allegory, making its contribution, especially to analytical questions, not obvious. This paper examines how a change in presentation eases the inclusion of Chinese Philosophy into the mainstream. On the assumption that there has been an “activist turn” in the discipline in general, philosophical interest in a tradition that ranges from conceptual analysis, to ethics and politics, but that is ultimately focused on motivating actions, becomes more relevant and pressing. Since, in much of Chinese Philosophy, the philosopher is an activist, if the wider discipline is indeed undergoing an “activist turn”, then there is a connection here that should be made. In this paper, the connection is explained using two examples, Mozi and Xu Fuguan.

Ways of life as modes of presentation

Books and journal articles have become the dominant modes of presentation in contemporary philosophy. This historically contingent paradigm prioritises textual expression and assumes a distinction between philosophical practice and its presented product. Using Socrates and Diogenes as exemplars, we challenge the presumed supremacy of the text and defend the importance of ways of life as modes of practiced presentation. We argue that text cannot capture the embodied activity of philosophy without remainder, and is therefore limited and incomplete. In particular, we contend that (1) a static text is essentially alienated from our practices of philosophising, (2) words cannot unambiguously represent lives, and (3) practiced presentation enriches our understanding beyond words alone. After discussing some pedagogical implications, we conclude with a plea for a pluralistic approach that recognises lives as legitimate and valuable modes of philosophical presentation.

Presenting philosophy – What science has taught me about it

Presenting philosophy properly, in a way that is clear and accessible to our target audience, is of paramount importance. In this essay I draw on my dual experience as a scientist and a philosopher (as well as science and philosophy communicator) to arrive at some general recommendations for good practice. Specifically, I discuss why presentation matters, whether a bad presentation style is a valid criticism of a philosopher’s work, how we may adapt our message to the variety of communication media available today, and what, if any, is the relationship between how we present and how we conceive of philosophy itself.

The force of presentation: Policing modes of expression and gatekeeping the status quo

Today the way philosophical work is presented is very narrowly circumscribed and as a result, this excludes people who do not want to, or cannot effectively, present their work in a particular manner. This canonization of the mode of presentation of philosophical work also serves to maintain the status quo of analytic philosophy as an exclusively academic discipline. In this paper I argue that diversity in how philosophical thinking is presented should be allowed, and even, encouraged. I argue that it is in philosophy’s interest to expand the ways that it is presented, because not doing so not only limits who can participate in philosophy, but it also limits who philosophy attracts and so how far-reaching philosophy can be.

Making philosophical thought dangerous again: Heidegger’s attack on journalistic writing

When it comes to questions about alternative visions for philosophical engagement, Heidegger’s work makes for an interesting case study, especially if we focus on his texts from the turbulent 1930s. As a shortcut into this contested territory, it is instructive to examine Heidegger’s anti-journalistic gestures, centered on the question whether this animosity is bound to drive a wedge between, or rather prompt a re-approximation of, philosophy and public scholarship. To render this programmatic concern more specific, the present essay aims to reassess Heidegger’s profile by considering his account of language as the “most dangerous of goods” bestowed on humans. This theme can serve as an expedient starting point for scrutinizing philosophers’ self-understanding as daring explorers in pursuit of profound insights into the human condition, and their (in)ability to balance excitement and sobriety.

Unveiling and packaging: A model for presenting philosophy in schools

As a philosopher and a reflective practitioner of philosophy in schools, I explore two aspects of presentation which I call unveiling and packaging. Both aspects bear on the work of designing and facilitating philosophy workshops for school students. I describe unveiling philosophy as a practice of collaborative inquiry and dialogic argument: social processes that foster thinking skills and dispositions, an evaluativist epistemology, and a range of constructive norms. I then discuss packaging philosophical materials in ways that create effective stimuli for thinking. I encourage educators engaged in designing or curating stimuli to draw on the rich diversity of available media, to focus on the quality of both the philosophical content and its creative expression, and to ensure that the content connects with students’ life experiences. I propose five criteria for judging the likely effectiveness of a philosophical stimulus: that it activate emotion, induce perplexity, challenge intuitions, ignite controversy and elicit reasoned argument. I offer three detailed examples of high school philosophy workshops to illustrate the practical application of these criteria, and to illuminate fruitful possibilities for arranging stimuli, including using a Provocation-Complication sequence or arranging stimuli as elements in a more complex puzzle.

The soul of philosophy in a soulless age

In its original Greek conception, philosophy was intended to promote both wisdom and virtue among society; in this sense, the teaching, or presenting, of philosophy is central to its essence. Socrates and Plato famously grappled with the question of how to impart wisdom and virtue to the learner, with mixed results. One of the standard methods—reading and writing—was argued to be misleading and even deceptive, because it deals with static, ‘dead’ words and ideas rather than with the “living discourse” of one person speaking directly to another. This general critique of certain ‘technologies’ of learning is even more relevant today, in our technological age, where the presenting of philosophy often involves computers, laptops, and the Internet. Such things come to function as addictive drugs—much like the pharmakon that Plato warned of. Philosophy would thus be better served by less use of mediating technologies and by a return to live, interactive, living dialogue between student and teacher.

Philosophy and the visual arts: Illustration and performance

In this paper I distinguish between illustrative and performative uses of artworks in the teaching and communication of philosophy, drawing examples from the history of art and my own practice. The former are where works are used merely to illustrate and communicate a philosophical idea or argument, the latter are where the artist or teacher philosophizes through the creation of art. I hope to promote future collaboration between philosophers, art historians and artists, with artworks becoming catalysts for artistic-philosophical investigation, thus revitalizing the idea of universities embodying ongoing and open-ended conversations.