Category Archives: Practice

Depolarising Politics: Talk 1

Depolarising Politics: Talk 1: Political Values, their Polarisation and Integration

This talk is a video version of a talk first given on the recent weekend retreat, ‘Depolarising Politics’. Robert M. Ellis looks first at the nature of political values, using the analysis of social psychologist Jonathan Haidt, then at how those values become polarised through absolutisation, and how we can make it possible to reconcile them by making them provisional.

Learning the craft

I’ve never been much of a craftsman. By that I don’t just mean that I haven’t developed much skill with my hands. I’m thinking more of the way that a craft requires its practitioners to adopt and work within a particular set of socially sanctioned standards. To learn how to work wood, make pots, or almost anything else requiring skill, you start off by largely subordinating yourself to the standards you are taught. Ideas about ‘good’ carpentry or pottery, and how to do it well, have been developed over time and passed down to form a tradition with attendant standards. Creativity in such a craft can only come after you’ve accepted those standards and worked within them. You are only then able to stretch them when you’ve fully internalised them and allowed them to format your very understanding of quality itself. This is what Alasdair MacIntyre, the moral philosopher, described as ‘goods in a practice’ – the realistic basis of moral virtue. We can only develop goodness deeply rooted in individual and social experience, he thought, through internalising the standards offered by one or more ‘practices’ – those could be crafts in the usual sense, or sports, or academic disciplines, or professional requirements, or arts, or anything with a social dimension in which there are shared standards – a ‘craft’ at least in a metaphorical sense.

Recently I have been reflecting on my own difficulties with this process. My personal problem, I think, has always been not the discipline of learning any ‘craft’ in this broad sense in itself, but rather the requirement to accept a particular set of constraining rules in order to do so. Hence, the history of my varied academic studies, the history of my attempts to learn foreign languages, my engagement with different subjects when teaching, my engagement with different religious groups, and the history of my relationship to philosophy: all betray what one could unkindly call dillettantism, or more kindly a determined free-spiritedness: an inability to settle into  one set of constraints and make the best of them. Perhaps the furthest I’ve got with any ‘craft’, with the support of a teacher in relatively recent times, has been with classical piano playing. I have at least pursued this for most of my life and got a great deal out of it: but I scraped through my grade 8 piano exam, and to this day am pretty hopeless at any kind of musical theory, scales or even basic key recognition. I’ve got myself through the threat implied by classical music’s standards by scorning many of them.

This tendency has both a positive and a negative aspect to it. The positive side is that it’s been a key condition of my development of Middle Way Philosophy. What’s distinctive about that approach is its synthetic nature – namely the way it brings different kinds of ideas and standards from different sources together for practical ends. I would never have created so much synthetic material if I hadn’t been so impatient with the constraints of any one craft. The drawback of it, though, can be a limitation of the depth of my engagement with any one given area of experience. Sometimes I yearn to be the master of a craft, with the capacity to learn more fully from others that it implies.

What’s particularly made me think about this once more is that I’m currently trying once again to engage with a craft – this time the craft of EFL (English as a foreign language) teaching. I did a basic certificate in this a long time ago, and also have lots of experience of teaching five other subjects (there’s the dilettantism again!), but I’m currently enrolled on a Diploma Course to learn how to do it properly – and preferably also make myself more employable. Like the other teacher training courses that I’ve done (and scraped through) in the past, it’s a challenge. Not intellectually, but because I have to take someone else’s set of apparently unreasonable, arbitrary standards, accept them, and work within them.

I started off in my first observed lesson with Henry V. I had been watching Shakespeare’s Henry V, and thought that the story of Henry V’s invasion of France and the Battle of Agincourt might interest the students. There was lots of vocabulary about combat that might have been of some use to them, because it was used metaphorically in everyday life. So I showed them a video about Henry V, and helped them to draw some combat vocabulary out of it. But was this directed sufficiently towards the needs of the learners? No. Were its aims and objectives clearly focused on their needs? No. Did I teach a manageable and helpful amount of vocabulary, properly contextualised in the way the students could use it? No. In the terms of the diploma, this was a disastrous lesson. Despite a great deal of more general teaching experience, I had nowhere near internalised the kinds of standards that were needed for the performance of the craft.

The key to meeting this challenge seems to be provisionality. I have to remind myself that these standards are a means to an end in a particular context, and that others understand the practical workings of that context far better than I do. The temptation for me is to reject them because they are too constraining – but that would be to repeat previous mistakes. I hope, and believe, that although I’m now in my fifties, I’m not too old to learn this. We’ll have to see how I get on with the rest of the course.

Of course, I do still think that learning one craft is not enough, if the effect is that one then gets stuck in the limiting assumptions of that craft. I still see philosophy as a pursuit that can only gain a helpful identity by being seen as beyond any craft – drawing on many crafts but not being subject to any of them. When I was studying for my Ph.D. in Philosophy, I met another student with a radically different attitude to mine. He described his Philosophy thesis as his “apprenticeship piece”, and was only too willing to embrace the arbitrary constraints of the particular sort of philosophy he was being supervised in. I wondered why on earth he was studying philosophy. Why not be a woodworker? Or at least a teacher?

But it’s likely that we can only get beyond craft, and into philosophy – or perhaps art – by growing up into a particular practice at least to some degree, before we learn to understand different practices in relation to each other. That’s what developmental psychologist Robert Kegan described as stage 4 thinking, where most educated and/or professional adults are to be found. The challenge seems to be not just to aspire to stage 5 thinking, beyond the craft, but also to understand when to embrace stage 4 in a provisional but still practically committed fashion.

 

Distinctive Qualities for the Middle Way

This morning, I woke up thinking about what it is that is distinctive about the Middle Way approach that sets it apart from other ways of judging things. To put it more crudely in marketing terms, what is its ‘USP’ or unique selling point? I find that in whatever form I try to convey what the Middle Way is about, many people like to appropriate it into the terms of some tradition or type of thinking that is more familiar to them: for example, Buddhists think of it in Buddhist terms, scientists in scientific terms, and so on. I usually think that they are partially right, but that they are still missing an understanding of what is most distinctive, because synthesis (see different ideas from different sources in relation to each other) is so central to it. So however I try to convey the unique ‘selling point’ of the Middle Way, it will have to be based on a synthesis of different qualities coming together. Those qualities may be found separately in lots of places, but the Middle Way asks one to see them together and in systemic relationship to each other. It starts to arise more fully when they are all brought together.

I worked through a list of lots of different viewpoints, along with what I felt they shared and didn’t share with the Middle Way, and by this means managed in the end to distil a list of five qualities. These qualities, when combined and held together, seem to jointly create a distinctive Middle Way approach, whereas in every other approach that seemed to get near to the Middle Way but not quite hit it, I could identify one of these qualities missing. Of course, in those approaches that are even further from the Middle Way, there will be more than one of them missing. Focusing on these qualities is thus a different (but hopefully complementary) angle from which to understand the Middle Way than the Five Principles that I have been using for some years now. Lets call them the Five Qualities. the five qualities that I identified were synthesis, criticality, gestalt meaning, even-handedness and practice orientation. The diagram below conveys that interdependent aspect.

Firstly, synthesis is the ability to bring ideas together from different places. Without that ability, provisionality, in which we are open to alternative possibilities, is impossible. Synthesis is blocked by domain dependence, where our thinking is stuck in one context where we are used to applying it: for instance, we don’t apply what we learnt at work when we get home. Fixed and essentialised categories can also block synthesis, by making us think in only one way that’s dictated by the framing of the language we’re using: for instance believing that ‘religion’ must be only ever be one kind of thing. The blocking of synthesis is also, in my view, a major problem in academia, where it results in over-specialisation, over-reliance on analysis alone, and relativism about values. Those academic ways of framing things also influence the rest of society.

Secondly, criticality  is the ability to question the current set of assumptions that we are making or are presented with. Even if we are theoretically aware of alternatives, if it doesn’t occur to us to consider the possibility that what we believe might not be true, we can be slaves to confirmation bias, locked into an unhelpful set of assumptions. For instance, people who are mystically inclined may have a highly meaningful, practical and synthetic approach to things, but they also often assume that this view offers ‘ultimate truth’ of some kind. Their failure to apply any criticality to this assumption can again trap them in unhelpful views in practice.

Thirdly, gestalt meaning refers to the recognition of symbols being meaningful because of our embodied experience, channelled through the right hemisphere. This meaning is gestalt because it comes to all at once in an intuition, rather than being conveyed piecemeal. However, when we assemble these gestalt meaning experiences into language through the use of schemas and metaphors, we can use them to express our beliefs, and at that point they become subject to criticality. So putting criticality together with the recognition of gestalt meaning results in the distinction between meaning and belief, and the recognition that we need to treat them in slightly different ways: to appreciate and celebrate meaning, but maintain critical awareness about our beliefs. Many people find this difficult, or are not even aware that it is possible: thus there are many spiritual and artistic people with a strong sense of gestalt meaning but little criticality, and many scientifically or philosophically educated people who are inclined to dismiss anything to do with gestalt meaning as “woo”, because they wrongly assume that it must be a kind of belief that threatens their justified  and critical scientific beliefs. An insufficient openness to gestalt meaning can impoverish our emotional and imaginative lives, and tends to lead us into representational and instrumentalist attitudes in which, for instance, we don’t really respond to others as people like ourselves.

Fourthly, even-handedness is another quality that we need to be able to apply when we are engaging in synthesis, criticality and appreciation of meaning. There are always many different possibilities jostling for our attention, and many different possible beliefs we could adopt. Even-handedness is the capacity to apply a model of balance in our judgements about these, not simply immersing ourselves or committing ourselves to one kind of meaning or belief and completely neglecting another. This is especially important when it comes to dealing with absolute or metaphysical beliefs, as it is so easy to reject one because of its dogmatism without recognising that you are running headlong straight into the arms of its opposite (like people ‘on the rebound’ from a relationship breakup). Even-handedness requires an emotional awareness that the degree of hatred that is likely to accompany your rejection of one view does not have to create a total desire for only one alternative to it.

Finally, practice orientation is the commitment to making your judgements practical and putting them into practice. That will probably mean that you are ‘working on yourself’ through some kind of integrative practice such as meditation, the arts, and/or study, and probably also ‘working on the world’ through some kind of communicative, social or political activity. With practice orientation you are always likely to be asking ‘does this really make a difference in practice?’ and thus have a critical perspective on purely theoretical accounts that take abstract completion as an end in itself. For instance, if someone makes you an argument about the nature of the historical Jesus, you can ask what difference this makes: is it going to change the way that Jesus functions in people’s lives, as a source of advice, inspiration, or archetypal meaning? There are many academic approaches that seem to lack this kind of practice orientation, because they have turned scholarly or scientific investigation within a particular field an end in itself.

Of course, this list may not be complete, and may still be improved upon. But perhaps it can provide another way into the Middle Way, but especially into the question of what is distinctive about it. If you’re not sure about how well a particular approach fits the Middle way, you might like to start by asking whether all five of these qualities are present, at least to some degree.

 

The MWS Podcast 143: Maryanne Wolf on the reading brain in a digital world

My guest today is Maryanne Wolf. Maryanne is the John Dibiaggio Professor of Citizenship and Public Service and Director of the Center for Reading and Language Research. She is an expert on the neurological underpinnings of reading, language, and dyslexia. She is also the author of numerous scientific publications as well as two books written for the general public: ‘Proust and the Squid: The Story and Science of the Reading Brain’, which has been translated into 10 languages, and her latest book ‘Reader Come Home: The reading brain in a digital world which will be the topic of our discussion today.

MWS Podcast 143: Maryanne Wolf as audio only:

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Announcing our new webinar programme

We’ve got a new monthly webinar programme now open for booking, running for 13 months from Dec 2018 to Dec 2019. There will be a variety of topics, all of which involve the relationship between an area of practice or interest and the Middle Way – for example, the Middle Way and Meditation, the Middle Way and Science, the Middle Way and Judaism. This is your opportunity to find out more about a Middle Way perspective in relation to a topic that already interests you, interacting with members of the society in real time online.

For more information, including the full programme and how to book, please see this page.