[Lionel] Trilling suggests that the way authenticity "has become part of the moral slang of our day points to the peculiar nature of our fallen condition, our anxiety over the credibility of existence and of individual existences." What he is highlighting here is the biblical texture that permeates the whole discourse of authenticity: in the beginning, humans lived in a state of original authenticity, where all was harmony and unity. At some point there was a great discord, and we became separated from nature, from society, and even from ourselves. Ever since, we have been living in a fallen state, and our great spiritual project is to find our way back to that original and authentic unity.

What led to this apparent separation was nothing less than the birth of the world. Characterized by the rise of secularism, liberalism, and the market economy, is the reason we have lost touch with whatever it is about human existence that is meaningful. Once upon a time religion, especially monotheistic religion, served as the objective and eternal standard of all that is good and true and valuable, and we built our society (indeed, our entire civilization) around the idea that living a meaningful life involved living up to that standard.

The search for authenticity is about the search for meaning in a world where all the traditional sources — religion and successor ideals such as aristocracy, community, and nationalism — have been dissolved in the acid of science, technology, capitalism, and liberal democracy. We are looking to replace the God concept with something more acceptable in a world that is not just disenchanted, but also socially flattened, cosmopolitan, individualistic, and egalitarian. It is a complicated and difficult search, one that leads people down a multitude of paths that indude the worship of the creative and emotive powers of the self; the fetishization of our premodern past and its contemporary incarnation in exotic cultures; the search for increasingly obscure and rarifled forms of consumption and experience; a preference for local forms of community and economic organization; and, most obviously, an almost violent hostility to the perceived shallowness of Western forms of consumption and entertainment.

Richard Todd's The Thing Itself - On the Search for Authenticity, other than being first-person non-fiction, stayed closer to treating authenticity as straight-forward provenance---with all the other stuff just being vigorous capitalism.

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This is not a website; it's a scrapbook, a swipe file and a memory hole. There is no separation between content and design, form or function: all is one. Island 94 looks like a blog insofar as this is the necessary form for its proper function: a legitimating feature and rhetorical device.

Rhetoric is the issue: just as curriculum requires an instructor, information requires delivery. The worst textbooks have always been readers: excerpts disconnected from their authors' greater work and padded with soft introductions.

I admit weakness in the face of emancipated content---I love my RSS reader and happily feed the beast---but that is only vane productivity. Enlightenment, if it is to be found on the web, shall come from unity, not incoherence.

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Viktor Shlovsky on art, via Art Spiegelman’s “Portrait of the Artist as a Young %@?*! ” in The Best American Comics, 2009:

The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects ‘unfamiliar,’ to make forms difficult to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged.

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Satisficing (a portmanteau of satisfy and suffice) is a decision-making strategy that attempts to meet criteria for adequacy, rather than to identify an optimal solution. A satisficing strategy may often be (near) optimal if the costs of the decision-making process itself, such as the cost of obtaining complete information, are considered in the outcome calculus.

...The word satisfice was coined by Herbert Simon. He pointed out that human beings lack the cognitive resources to maximize: we usually do not know the relevant probabilities of outcomes, we can rarely evaluate all outcomes with sufficient precision, and our memories are weak and unreliable. A more realistic approach to rationality takes into account these limitations: This is called bounded rationality.

...Satisficing occurs in consensus building when the group looks towards a solution everyone can agree on even if it may not be the best.

Example: A group spends hours projecting the next fiscal year's budget. After hours of debating they eventually reach a consensus, only to have one person speak up and ask if the projections are correct. When the group becomes upset at the question, it is not because this person is wrong to ask, but rather because they have come up with a solution that works. The projection may not be what will actually come, but the majority agrees on one number and thus the projection is good enough to close the book on the budget.

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Definition of OD

Organization Development is a dynamic values-based approach to systems change in organizations and communities; it strives to build the capacity to achieve and sustain a new desired state that benefits the organization or community and the world around them.

Principles of Practice

The practice of OD is grounded in a distinctive set of core values and principles that guide behavior and actions.

Values-Based

The practice of OD is grounded in a distinctive set of core values and principles that guide behavior and actions. Values-Based Key Values include:

• Respect and Inclusion – equitably values the perspective and opinions of everyone.
• Collaboration – builds collaborative relationships between the practitioner and the client while encouraging collaboration throughout the client system.
• Authenticity – strives for authenticity and congruence and encourages these qualities in their clients
• Self-awareness – commits to developing self-awareness and interpersonal skills. OD practitioners engage in personal and professional development through lifelong learning.
• Empowerment – focuses efforts on helping everyone in the client organization or community increase their autonomy and empowerment to levels that make the workplace and/or community satisfying and productive.

Supported by Theory

Draws from multiple disciplines that inform an understanding of human systems, including applied behavioral and physical sciences

Systems Focused

Approaches communities and organizations as open systems; that is, acts with the knowledge that change in one area of a system always results in changes in other areas; and change in one area cannot be sustained without supporting changes in other areas of the system.

Action Research

Continuously reexamines, reflects and integrates discoveries throughout the process of change in order to achieve desired outcomes. In this way, the client members are involved both in doing their work, and in dialogue about their reflection and learning in order to apply them to achieve shared results.

Process Focused

Intervenes in organizational or community processes to help bring about positive change and help the client work toward desired outcomes

Informed by Data

Involves proactive inquiry and assessment of the internal environment in order to discover and create a compelling need for change and the achievement of a desired future state of the organization or community. Some methods include survey feedback, assessment tools, interviewing, focus groups, story telling, process consultation and observation.

Client Centered

Focuses on the needs of the client in order to continually promote client ownership of all phases of the work and support the client’s ability to sustain change after the consultant engagement ends.

Focused on Effectiveness and Health

Helps to create and sustain a healthy effective human system as an interdependent part of its larger environment.

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In his influential essay ‘What is an Author?’ (Foucault, 1977), Foucault explores the notion of the author – conventionally taken for granted as a knowable entity existing in a stable relation to a discrete body of texts – and exposes it rather as a historically specific and therefore fluctuating function of discourse. For Foucault, the individualisation of the author is a particularly resonant instance of the working of discourse, representing as it does a ‘privileged moment’ in the history of ideas (p. 115). Foucault in this essay replaces the figure of the humanistic, individualised author with the concept of the ‘author function’.

In what sense does the concept of the author function problematise the Romantic image of the author as an individual in possession of a creative soul from which the unified text emanates? Foucault’s historicising approach reveals, as just one example, the way in which we use the name of the author to perform a classificatory function, permitting us to group together certain texts, define them, and contrast them with others. An example might be the Iliad and the Odyssey – products of centuries of collective oral storytelling, quite possibly ‘authored’ by two or more individuals, one of whom may or may not have been the blind poet, who may or may not have actually inscribed the epics with his own hand (Nagy, 1996; de Jong, 1999), which are nonetheless attributed by modernity to ‘Homer’ as though ambiguity in the issue of authorship were something intolerable.

Certain discourses, certain texts are endowed with the author-function while others are not (Foucault, 1977, p. 202). Novels, textbooks, monographs and poems are all authored. Private letters, public notices (Foucault’s examples), graffiti, advertisements, emails and many websites, though they may have writers, can not be said to have authors. We might write and send fifty individual emails every day, yet we would still not be able to say, ‘I am an author’.

In the case of websites the terminology of authorship is made even more complex by the way we designate ‘authorship’ to the process of generating the design and code behind the web page, rather than its ‘content’. Within the context of the printed and bound artefact, to say ‘I am an author’ is to claim the privileged status of a generator of a uniquely meaningful text. Within the context of the Web, to say ‘I am an author’ is to take a relatively lowly position as a practitioner of behind-the-scenes geekery. If ‘authorship’ is the activity ‘behind’ the Web, perhaps other terms are needed to designate the discourses which operate on the surfaces of our screens.

This paper also quotes from Mark Poster’s text "What’s the Matter with the Internet?":

Foucault's future eviscerates the author's presence from the text, shifting interpretive focus on the relation of the reader to a discourse understood in its exteriority, without resort to a founding creator, without reference to the patriarchal insemination of text with meaning. His utopia of writing would seem to contravene both Benjaminian aura and culture industry celebrity. Here in his own words is the Foucaultian heterotopia:

All discourses... would then develop in the anonymity of a murmur. We would no longer hear the questions that have been rehashed for so long: Who really spoke? Is it really he and not someone else? With what authenticity or originality? And what part of his deepest self did he express in his discourse? Instead there would be other questions, like these: What are the modes of existence of this discourse? Where has it been used, how can it circulate, and who can appropriate it for himself? What are the places in it where there is room for possible subjects? Who can assume these various subject functions? And behind all these questions, we would hear hardly anything but the stirring of an indifference: What difference does it make who is speaking? (pp. 119-120)

I contend that digital writing, linked to electronic networks, is the mediation Foucault anticipated but did not recognize. Digital writing separates the author from the text, as does print, but also mobilizes the text so that the reader transforms it, not simply in his or her mind or in his or her marginalia, but in the text itself so that it may be redistributed as another text. Digital writing functions to extract the author from the text, to remove from its obvious meaning, his or her intentions, style, concepts, rhetoric, mind, in short, to disrupt the analogue circuit through which the author makes the text his or her own, through which the mechanisms of property solidified a link between creator and object, a theological link that remains in its form even if its content changed from the age of God to the age of Man. Digital writing produces the indifference to the question who speaks that Foucault dreamt of and brings to the fore in its place preoccupations with links, associations, dispersions of meaning throughout the Web of discourse. And this is so not simply for alphabetic text but for sounds and images as well. The issue rests with the mediation, with the change from analogue to digital techniques.

But can you monetize it?

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Designed as a dialogue, this piece is, as Barringer says, “a hybrid mess of a literary shenanigan, inspired by the dialogues of the philosopher Denis Diderot (1713–1784). If you think I took the conversation too far, see Diderot’s Jacques the Fatalist (1782).”

Jumping in…

Ego: So, to sum up, anyone with the intent to design can claim to be a graphic designer in our messy age of design pluralism. You don’t need the degree, the tools, the status, the employer, or even a client. You certainly don’t need to be good or even competent. You just need the intent. So what is at stake, and for whom, in defining the identity of the designer? Credentials are one way to define identity, and credentials matter to some. They signify to potential employers; signify less to potential clients; and always make our mothers proud. But what is at stake for the individual designer? I think that’s where we need to go next.

Devil: I agree. Design pluralism recognizes the diversity of individuals working in some measure in a field we’ve agreed to call graphic design, itself a broad category, its membrane permeable enough to absorb the practitioners of the year’s latest digital arts. Together, this pluralism and the attendant technological advances that impact the practice of graphic design disturb the discipline and unsettle the individual. In a steady profession and stable economy—

Ego: Both concepts being theoretical— 

Devil: Many are content to let their jobs define them. Who am I? I am my job. But graphic design is not a steady profession, and the economy is not stable. Uncertainty is the order of the day. Undeterred, people may cling to a mere skill set as an indicator of who they are, defining themselves in ever more narrow and conditional terms. In a moral panic, a designer might crave the next seminar in web design as if it were a personality upgrade, the next slogan from the best-selling business pundit as if it were a reprieve from a death sentence. Why? Because today’s skill set is tomorrow’s software template. And today’s job is tomorrow’s downsized nod to the stockholders. 

Ego: So this is why self-definition is so urgent and infuriating. The economic is personal. Who you are today may not even be who you are tomorrow. 

Devil: I’m an expert in Pagemaker. I mean, Quark. Oops, InDesign. Flash. No, wait, I’m a problem-solver! A branding consultant! A, a.… 

Ego: In this environment, you are not saved by what you know. 

Devil: What you know is only what you knew. And that’s why it feels, to me, like there is no such thing as art or design, jobs or retirement. There is only the work that you do and the you who is doing it. What is at stake in all this is the individual designer’s self-definition. 

Ego: And let me guess. What we are dismantling here is the overarching myth of the self-taught, which is that the label of being self-taught no longer functions as a meaningful symbol of the designer’s identity, whether as a romantic symbol or a derogatory one. Regarding yourself as self-taught, as a self-motivated learner, as you said before, is more and more coming to be an essential component of that self-definition, no matter what kind of graphic designer you are. 

Devil: Did I say that?

The section of the book that includes this is entitled “Design is a hug at a distance”.

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Personally, I’d like to see society make a point of separating out Charity (giving to those of equal social standing) and Mercy (giving to those of lesser standing). Imagine if the IRS determined the status of your donations based upon your income and the organization’s clientelle. Flat taxes, graduated giving; now there’s a platform.

I received this reply from the blog’s author, Phil Cubeta (Morals Tutor to America’s Wealthiest Families):

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From such Western philosophers as Nietzsche, Iqbal had imbibed the importance of individualism. The whole universe represented an Absolute from which was the highest form of individuation and which men had called “God.” In order to realize their own unique nature, all human beings must become more like God. That meant that each must become more individual, more creative and must express this creativity in action. The passivity and craven self-effacement (which Iqbal put down to Persian influence) of the Muslims of India must be laid aside. The Muslim principle of ijtihad (independent judgement) should encourage them to be receptive to new ideas: the Koran itself demanded constant revision and self-examination. Like al-Afghani and Abduh, Iqbal tried to show that the empirical attitude, which was key to progress, had originated in Islam and passed to the West via Muslim science and mathematics during the Middle Ages. Before the arrival of the great confessional religions during the Axial Age, the progress of humanity had been haphazard, dependent as it was upon gifted and inspired individuals. Muhammad’s prophecy was the culmination of these intuitive efforts and rendered any further revelation unnecessary. Henceforth people could rely on reason and science.

Unfortunately individualism had become a new form of idolatry in the West, since it was now an end in itself. People had forgotten that all true individuality derived from God. The genius of the individual could be used to dangerous affect if allowed absolutely free rein. The breed of Supermen who regarded themselves as Gods, as envisaged by Nietzsche, was a frightening prospect: people needed the challenge of a norm that transcended the whims and notions of the moment. It was the mission of Islam to uphold the nature of true individualism against the Western corruption of the ideal. They had their Sufi ideal of the Perfect Man, the end of creation and the purpose of its existence. Unlike the Superman who saw himself as supreme and despised the rabble, the Perfect Man was characterized by his total receptivity to the Absolute and would carry the masses along with him.

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Our discussion has led us to conclude that, biologically, there is no “transmitted information” in communication.  Communication takes place each time there is behaivioral coupling in a realm of structural coupling.

This conclusion is surprising only if we insist on not questioning the latest metaphor for communication which has become popular with the so-called communication media.  According to this metaphor of the tube, communication is something generated at a certain point.  It is carried by a conduit (or tube) and is delivered to the receiver at the other end.  hence, there is a something that is communicated, and what is communicated is an integral part of that which travels in the tube.  Thus, we usually speak of the “information” contained in a picture, an object or, more evidently, the printed word.

According to our analysis, this metaphor is basically false. It presupposes a unity that is not determined structurally, where interactions are instructive, as though what happens to a system in an interaction is not determined by the perturbing agent and not by its structural dynamics.  It is evident, however, in daily life, that such is not the case with communication: each person says what he says or hears what he hears according to his own structural determination; saying does not ensure listening. From the perspective of an observer, there is always ambiguity in a communicative interaction. The phenomenon of communication depends on not what is transmitted, but on what happens to the person who receives it. And this is a very different matter from “transmitting information.”

So that’s all a bit of a mouthful, but its an important aspect of communication—it’s not the creation or production of something, it’s the making of an affect or inducing an action upon someone.

The ambiguity of language is something that Bakhtin has touched on (and I have posted before):

[Bakhtin explores] the idea that language is indeed ambiguous, but whereas deconstruction would highlight this ambiguity as the inability of words to convey precise meaning, Bakhtin welcomes this vagueness of language as a means by which to create meaning dialogically.

This is a very positive and optimistic statement of embracing dialogue as the means to overcoming the biological and structural limits of our individualism.  And which, you can probably assume, I strongly agree with.

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