Plato's legacy : How to do philosophy

Although it has its origins earlier, philosophy as we know it in the West took its shape from the Socrates of Plato's Dialogues. It is not implausible to regard the Dialogues as heuristic devices designed for engaging in philosophical inquiry. As such, they would model the process of philosophical inquiry as well as illustrate the common pitfalls or errors to avoid when engaging in such inquiry. So it will not be surprising to see Socrates, the character of the Dialogues, modeling questionable, even poor, inquiry techniques as well as good; admonishing other characters for poor technique and reminding them of lessons they should have learned earlier in their tuition. Plato presumably would expect students reading and role-playing a Dialogue to recognise when and where such instances occur. It is instructive then to take a close look at one of the longer dialogues featuring Socrates engaging in such inquiry, not with an untutored interlocutor, but with a professional, the sophist Protagoras, in order to identify the features of the inquiry itself. For this will reveal something of what Plato conceived to be the activity of philosophy to which we are the heirs. The Protagoras can be read as an illustration (not a definition) of how to do philosophy. And to aid this reading, I propose to focus on the logical form of the inquiry, the moves made by the characters and the techniques displayed, rather than the adequacy of the substantive arguments they mount.

Biography and the project of labour history: Marxist anticipations and Australian examples

The popularity of biography among the general public and historians has been despite a theoretical ambivalence among historians about the validity of the project. This has particularly been the case for labour historians who aspire to write the history of a class rather than that of individuals. This article identifies two divergent traditions within labour biography, broadly defined as reflection on the role of the individual in historical movements. One, uniting traditional Marxists and labourists, regards individuals as no more than the symbol of a class. Examples are Karl Kautsky and in Australia Fin Crisp. Another, unites activist revolutionaries and revisionist social democrats, and argues that the individual can make a difference. Examples include Trotsky and in Australia the young Evatt and Gordon Childe. Political disillusionment encouraged both Childe and Evatt to move towards the determinist position. This article suggest that recent discussions of the inherently divided nature of the self may offer an alternative to both these positions.

What is the subaltern of the comparative philosophy of religion?

It is claimed that Comparative Philosophy of Religion (CPR) mistakenly builds on the dogmas of comparative religion (or history of religions) and philosophy of religion. Thus, the belief that there are things common and therefore comparable between two or more traditions and that these objects of comparison are of philosophical or theological significance are questions that continue to trouble the field. Just what does one compare, how does one choose what to compare or why, through what methodological and epistemic tools, and who is it that carries out the tasks? But what has remained unasked and unanalyzed are the larger meta-questions concerning the motivation, civilizational presuppositions, cultural parochialism, or legacies of orientalism, modernity, and (post-)colonialism that together affect the boundedness of certain key categories and thematic issues in the comparative enterprise such as God or the Transcendent, Creation, the Problem of Evil, the Afterlife, Sin, Redemption, Purpose, and the End. Is difference with respect to alterity and altarity permissible? If so, what a postcolonial, differently gendered, cross-cultural critique would look like and what is left of CPR are two such questions explored here.

Modern dance, domestic life and civil society

In her book The Reluctant Modernism of Hannah Arendt (2000) Seyla Benhabib uses the concept of an ‘alternative genealogy of modernity’ to help her both to understand Arendt’s political philosophy and to rethink the potential for civil society to become a progressive political force at the beginning of the twenty first century. The idea of an alternative genealogy of modernity refers to a heterogeneity of social and political forms, spaces and acts that might be used to remap and redefine a modernity whose dominant topology has been shaped by the binary division between so-called public and private spheres. Alternative modernities have already been elaborated and explored from a range of different perspectives including feminist and postcolonial ones: for example, in Rita Felski’s Gender of Modernity (1995) and Dipesh Chakrabarty’s Provincialising Europe (2000). In this paper I want to elaborate upon the idea of an alternative genealogy of modernity from my perspective as a dancer. Thinking through the sociality of art and, more specifically, of some historical dance-making practices can make visible alternative spaces and processes of the (potentially) political. In the West, the modes of art-making form part of an as yet not fully explored arena of the social and of social practices. Modernist and Romantic ideologies have tended to preclude attention to the specific sociabilities of art-making. On the one hand Modernist ideology and art discourses have promoted the idea of an art work’s ‘autonomy’: its radical separation from the social relationships, the bodies and the conditions of its making. On the other hand Romantic ideology, still pervasive in popular conceptions of art practices, construes creation as interiority and individualistic expression. Socialist feminist and Marxist discussions of art have emphasized the social conditions of art-making but these have tended to be concerned with the social inequalities instituted within the public/private split rather than seeking to destabilize that division itself by posing questions of differences within the social. In my discussion below I draw on aspects of early modern dance practice and creation in taking up Benhabib’s concern to mobilise an alternative genealogy of modernity towards a renewal and reactivation of civic life. This project involves unsettling clear distinctions between the so-called ‘public’ and ‘private’ but, at the same time, as Benhabib cautions ‘the binarity of public and private spheres must be reconstructed and not merely rejected’. (2000:2006)

Defuturing an architecture of destruction: a reconciliation of Van Berkel and Bos to the new design philosophy of Tony Fry

For some time now Tony Fry has promoted the idea of 'The Sustainment', an idea that asserts a paradigm shift in attitudes to consumption. 'The Sustainment' recognises that increasingly human futures are products of self-determination and not chance. Fry’s hypothesis can be understood through his concept of Defuturing, a philosophy that questions the role of design and the responsibility of designers to facilitating the ability to sustain (Fry 1999).
Central to Fry’s philosophy is an awareness that it is in the best interests of designers and their clients, as inhabitants of cultures increasingly driven by technology, to be aware of the relationships between the products and theories of design and the processes and implications of technological change. This is an awareness that is central to the concepts, work, and methodologies of the ‘UN Studio’ of Van Berkel and Bos described and elaborated upon in Move – Imagination, Techniques, and Effects (Van Berkel & Bos 1999). Here, Ben Van Berkel defines the parameters and methodologies employed by UN Studio in an environment of technological and socio-economic change. The Dutch practice could be said to exemplify something of a zeitgeist in current architectural design that sees architects, as Van Berkel and Bos view them, as “fashion designers of the future, dressing events to come and holding up a mirror to the world (Van Berkel & Bos 1999, back cover).” It is a zeitgeist that Fry might see as aligned to the resilient hype of ‘new creativity’, ‘globalisation’ the ‘romance with technology’, and the vacuous-ness of the world of fashion. (Fry The Voice of Sustainment: on Design Intelligence 2005).
A source of breaking down such design propaganda is identified by Fry in the notion of ‘scenarios,’ which “provide a mechanism for politico-practice assemblage in which dialogues and narratives of change can be rehearsed in ways that enable participants to re-educate themselves via critical confrontations” (Fry The Voice of Sustainment: on Design Intelligence 2005). From such a perspective this paper aims to practically illustrate and ground the Defuturing of Fry by establishing a dialogue between his writings and the theories that have generated the architectural designs of Van Berkel and Bos and there UN Studio. This will be a ‘scenario’ that examines therefore an appropriation and transformation of the applied intellectual practice of Van Berkel and Bos. Through this confrontation we shall explore the question of why sustainability appears to be so low in the agenda of many pre-eminent contemporary architects, and how we might refocus therefore practice and theory on the ability to sustain.

Philosophy and the care of the self: a literature survey

This article reviews a number of recent books and practices that address a renewed interest in the role that philosophy might play in the living of a rich and fulfilling life. The review looks at books addressed to the general public as well as books which discuss such classical and Hellenistic philosophers as took their task to be helping people achieve happiness in life. It then turns to contemporary studies of the self and of wisdom and turns finally to some newly emerging philosophical practices such as philosophical counselling and philosophical discussion groups of various kinds in order to explore whether philosophy can still be a source of consolation or guidance in contemporary life.