Finding the Good Argument OR Why Bother With Logic?

1 Finding the Good Argument OR. Why Bother With Logic? by Rebecca Jones This essay is a chapter in Writing Spaces: Readings on Writing, Volume 1, a peer-reviewed open textbook series for the writing classroom, and is published through Parlor Press. The full volume and individual chapter downloads are available for free from the following sites: Writing Spaces: Parlor Press: WAC Clearinghouse: Print versions of the volume are available for purchase directly from Parlor Press and through other booksellers. To learn about participating in the Writing Spaces project, visit the Writing Spaces website at This essay is available under a Creative Commons License subject to the Writing Spaces Terms of Use. More information, such as the specific license being used, is available at the bottom of the first page of the chapter. 2010 by the respective author(s). For reprint rights and other permissions, contact the original author(s).

2 Library of Congress Cataloging-in-Publication Data Writing spaces : readings on writing. Volume 1 / edited by Charles Lowe and Pavel Zemliansky. p. cm. Includes bibliographical references and index. ISBN 978-1-60235-184-4 (pbk. : alk. paper) -- ISBN 978-1-60235-185-1. (adobe ebook). 1. College readers. 2. English language--Rhetoric. I. Lowe, Charles, 1965- II. Zemliansky, Pavel. 2010. 808'.0427--dc22. 2010019487. Finding the Good Argument OR. Why Bother With Logic? Rebecca Jones The word Argument often means something negative.* In Nina Paley's cartoon (see Figure 1), the Argument is literally a cat fight. Rather than envisioning Argument as something productive and useful, we imagine intractable sides and use descriptors such as bad, heated, . and violent. We rarely say, Great, Argument . Thanks! Even when we write an academic Argument paper, we imagine our own ideas battling others.

3 Figure 1. This cartoon demonstrates the absurdity of either/or arguments. ( 1997-1998 Nina Paley. Image available under a Creative Commons Attribution-Share Alike * This work is licensed under the Creative Commons Attribution- Noncommercial-Share Alike United States License and is subject to the Writing Spaces Terms of Use. To view a copy of this license, visit http://. or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. To view the Writing Spaces Terms of Use, visit http://writingspaces. org/terms-of-use. 156. Finding the Good Argument 157. Linguists george lakoff and Mark Johnson explain that the con- trolling metaphor we use for Argument in western culture is war: It is important to see that we don't just talk about arguments in terms of war. We actually win or lose arguments. We see the person we are arguing with as an opponent.)

4 We attack his positions and we defend our own. We gain and lose ground. We plan and use strategies. If we find a position indefensible, we can abandon it and take a new line of attack. Many of the things we do in arguing are partially structured by the concept of war. (4). If we follow the war metaphor along its path, we come across other notions such as, all's fair in love and war. If all's fair, then the rules, principles, or ethics of an Argument are up for grabs. While many warrior metaphors are about honor, the all's fair idea can lead us to arguments that result in propaganda, spin, and, dirty politics. The war metaphor offers many limiting assumptions: there are only two sides, someone must win decisively, and compromise means losing. The metaphor also creates a false opposition where Argument (war). is action and its opposite is peace or inaction.

5 Finding better argu- ments is not about Finding peace the opposite of antagonism. Quite frankly, getting mad can be productive. Ardent peace advocates, such as Jane Addams, Mahatma Gandhi, and Martin Luther King, Jr., offer some of the most compelling arguments of our time through concepts like civil disobedience that are hardly inactive. While Argument is war may be the default mode for Americans, it is not the only way to argue. lakoff and Johnson ask their readers to imagine something like Argument is dance rather than Argument is war (5). While we can imagine many alternatives to the war metaphor, concepts like Argument as collaboration are more common even if they are not com- monly used. Argument as collaboration would be more closely linked to words such as dialogue and deliberation, cornerstone concepts in the history of American democracy. However, Argument as collaboration is not the prevailing metaphor for public argumentation we see/hear in the mainstream media.

6 One can hardly fault the average American for not being able to imagine Argument beyond the war metaphor. Think back to the coverage of the last major election cycle in 2008. The opponents on either side (demo- 158 Rebecca Jones crat/republican) dug in their heels and defended every position, even if it was unpopular or irrelevant to the conversation at hand. The politi- cal landscape divided into two sides with no alternatives. In addition to the entrenched positions, blogs and websites such as flooded us with lists of inaccuracies, missteps, and plain old fallacies that riddled the debates. Unfortunately, the debates were more like speeches given to a camera than actual arguments deliberated before the public. These important moments that fail to offer good models lower the standards for public argumentation. On an average news day, there are entire websites and blogs dedi- cated to noting ethical, factual, and legal problems with public argu- ments, especially on the news and radio talk shows.

7 This is not to say that all public arguments set out to mislead their audiences, rather that the discussions they offer masquerading as arguments are often merely opinions or a spin on a particular topic and not carefully considered, quality arguments. What is often missing from these discussions is research, consideration of multiple vantage points, and, quite often, basic logic. On news shows, we encounter a version of Argument that seems more like a circus than a public discussion. Here's the visual we get of an Argument between multiple sides on the average news show. In this example (see Figure 2), we have a four ring circus. While all of the major networks use this visual format, multiple speakers in multiple windows like The Brady Bunch for the news, it is rarely used to promote ethical deliberation. These talking heads offer a simulation of an Argument .

8 The different windows and figures pic- tured in them are meant to represent different views on a topic, often liberal and conservative. This is a good start because it sets up the possibility for thinking through serious issues in need of solutions. Unfortunately, the people in the windows never actually engage in an Argument (see Thinking Outside the Text). As we will discuss below, one of the rules of good Argument is that participants in an argu- ment agree on the primary standpoint and that individuals are will- ing to concede if a point of view is proven wrong. If you watch one of these arguments, you will see a spectacle where prepared speeches are hurled across the long distances that separate the participants. Rarely do the talking heads respond to the actual ideas/arguments given by the person pictured in the box next to them on the screen unless it is to contradict one statement with another of their own.

9 Even more Finding the Good Argument 159. Figure 2. This mock up of a typical news show created by Colin Charlton offers a visual of the attempt to offer many sides of an Argument . troubling is the fact that participants do not even seem to agree about the point of disagreement. For example, one person might be arguing about the congressional vote on health care while another is discussing the problems with Medicaid. While these are related, they are differ- ent issues with different premises. This is not a good model for argu- mentation despite being the predominant model we encounter. Activity: Thinking Outside the Text Watch the famous video of Jon Stewart on the show Crossfire: (http://. ). What is Stewart's Argument ? How do the hosts of Crossfire respond to the very particular Argument that Stewart makes? Why exactly are they missing the point? These shallow public models can influence argumentation in the classroom.

10 One of the ways we learn about Argument is to think in 160 Rebecca Jones terms of pro and con arguments. This replicates the liberal/conserva- tive dynamic we often see in the papers or on television (as if there are only two sides to health care, the economy, war, the deficit). This either/or fallacy of public Argument is debilitating. You are either for or against gun control, for or against abortion, for or against the envi- ronment, for or against everything. Put this way, the absurdity is more obvious. For example, we assume that someone who claims to be an environmentalist is pro every part of the green movement. However, it is quite possible to develop an environmentally sensitive Argument that argues against a particular recycling program. While many pro and con arguments are valid, they can erase nuance, negate the local and particular, and shut down the very purpose of having an argu- ment: the possibility that you might change your mind, learn some- thing new, or solve a problem.