Revolution Lullabye

November 15, 2010

Spellmeyer, Bigger Than a Discipline

Spellmeyer, Kurt. “Bigger Than a Discipline?” .” In A Field of Dreams: Independent Writing Programs and the Future of Composition Studies. Ed. Peggy O’Neill, Angela Crow, and Larry W. Burton. Logan: Utah State UP, 2002. 278-294. Print.

Spellmeyer argues that instead of promoting rhetoric and composition as yet another academic discipline, we need to see the discipline for the promise and possibility of it being a metadiscipline, one whose work entails connecting fragmented ideas present at the specialized university and making sense of the vast production and circulation of knowledge that is the hallmark of our contemporary world and economy. He argues that separation from English would help composition and rhetoric take its place as a field that can understand how to connect, understand, and especially produce forms of knowledge that matter in society. He wants composition to be a practical field, its practitioners informed with “a working knowledge of economics, science, politics, history, and any other disciplines impinging on matters of broad public concern” so that we can work on real, actual problems in the world (287). He argues for the discipline to seek out connections with those who have power in the university – medicine, law, business, and science – and publish for public audiences instead of positioning themselves as yet another humanities-based discipline.

Notes and Quotes

“The fact remains that the one inescapable mission of the university is the continuous production of new knowledge, and this requires, in turn, the continuous displacement of knowledge no longer new” (290).

“Increasingly, our whole economy depends on the perpetual creation and circulation of knowledge” (279).

“I am suggesting that our proper concern may lie, not with creating another discipline that can take its conventional place beside the rest, but with the task of making visible the links between one ‘realm’ and another – not transcendent realms of timeless Being but mundane ones of transient information.” (279)

The lack of connection between the university and the real problems in the world “encourage my strong suspicion that the academic humanities have become, if not actually pernicious, then absolutely irrelevant” (283).

October 3, 2009

Atlee, Theories of Co-Intelligence

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This post is a summary of some of Thomas Atlee’s key ideas about co-intelligence. The Co-Intelligence Institute (, the foundation he founded and directs, has a website that contains numerous articles and links to resources and scholarship on co-intelligence.

Co-intelligence is an attitude that a person or a group can orient themselves to in order to draw on the diverse experiences, intelligences, and wisdoms of others in order to better solve problems. It requires that those involved in the group embrace and understand diversity as an asset in order to build a more holistic, dynamic intelligence. Those involved in co-intelligent initiatives and projects work consciously and deliberately to build and construct systems that encourage the development of co-intelligence among members, creating sustainable, organized systems that highlight the interconnectedness and relationships between people and ideas. Co-intelligence is intelligence “with”: with others, with systems, with a group, between groups and communities.

Atlee’s theories are used by scholars in design, ecology, philosophy, political science and governance, and organizational theory. Atlee argues that participation in co-intelligence – as opposed to what he terms “alienated individualism” – benefits the individual, the group, and society as a whole. When people work synergistically with others, they keep the big picture in mind, benefiting all.

Atlee presents two aspects of co-intelligence: collective intelligence and collaborative intelligence. Collective intelligence is drawing on the inclusive collective knowledge of a group (as opposed to one person’s individual intelligence) to better, more wisely solve problems. Atlee gives examples of how different levels of groups and communities, from small and large groups to whole states and countries, have used collective intelligence successfully. Collaborative intelligence is the spirit in which a group or person can engage in co-intelligence: working for the benefit of all instead of to dominate or oppress. This can happen through an open economy of sharing information.

Quotable Quotes

“This ability to wisely organize our lives together — all of us being wiser together than any of us could be alone — we call co-intelligence. In its broadest sense, co-intelligence involves accessing the wisdom of the whole on behalf of the whole.”

From “A Compact Vision of Co-intelligence”
“attention to collective intelligence is a key ingredient missing from most civic and political undertakings.” How about our scholarly undertakings?

“A major challenge in all collaboration is the creative use of diversity. One form of diversity is, interestingly enough, different cognitive styles or what some call multiple intelligences. Within and among us, we find analytical intelligence and emotional intelligence, verbal intelligence and musical intelligence, kinesthetic bodily intelligence and transcendental intelligence, and many more. How do analytical, intuitive and kinesthetically-oriented people apply their diverse intelligences collaboratively to generate a more powerful, complete collective intelligence?”

From “Ten Qualities of Co-intelligence”
“Co-intelligence is multi-dimensional, inclusive, wise, responsive, grounded in interconnectedness, synergistic, collaborative, self-aware, holistic and systemic, manifesting at many levels of human activity.”

“We build, invite and utilize partnerships to accomplish our goals. We seek interactivity to generate energy — and dialogue to generate wisdom. We value, above all, conscious, intentional co-operation and co-creativity. We are practicing the co-intelligent art of collaboration.”

“We arrange our lives and relationships, groups and organizations, communities and cultures so as to support these co-intelligent qualities. We know that the design of environments, relationships and processes influences consciousness, and that consciousness influences design. We are being mindful of the systemic nature of co-intelligence that manifests at many levels of human activity and reality.”

Notable Notes

The Tao of Democracy (Atlee 2003)

January 1, 2009

Samara, Making and Breaking the Grid

Samara, Timothy. Making and Breaking the Grid. Gloucester, MA: Rockport Publishers, 2002.

The typographic grid – “an orthogonal planning system that parcels information into managable chunks,” creating meaningful relationships through the placement and scale of its informational elements – is considered by some graphic designers the foundation of good graphic design, and by others, a “stifling cage” that must be deconstructed or thrown away (9). Samara’s text is divided into two sections, “Making the Grid,” which contains a historical essay about the evolution of the modern design grid in the 19th-century industrial revolution, and “Breaking the Grid,” which begins with another historical essay that documents the movement against grids and rationalist design starting with Dada and other post-WWI reactive movements. Each section also has an exhibit section, where Samara displays examples of the different kinds of grid and non-grid layouts. Samara does not argue one school of thought – making or breaking – over another (though his deconstructed grid design of an MPH admissions flyer is in the “Breaking” exhibit section); rather, his balanced explanation and description of each camp calls upon graphic designers to make a conciencious choice whether to use grids in their design, not to rely on them as a default organizational tool.

 In “Making the Grid,” Samara dissects the fundamental elements of a grid and uses these elements to describe how grids in both the Making exhibit and the Breaking exhibit function. The elements include columns, modules (individual spaces), margins, flowlines (horizontal lines that form rows and guide the eye across the page), markers (consistent placement of running text, like headers or page numbers), and spatial zones (groups of modules serving a distinct purpose as a field.) He highlights four grid-based designs- manuscript (used in book publishing), column, modular, and hierarchal (used in Web design) – and five non-grid-based designs – grid deconstruction, linguistic deconstruction (altering type to echo spoken rhythm), spontaneous optical composition (form-based placement), conceptual/pictorial illusion (a concept forms the governing structure), and chance operation (controlled random placement.)

Quotable Quotes

“All design work involves problem solving on both visula and organizational levels” (22).

The benefits of grids include “clarity, efficiency, economy, and continuity” (22).

“Sometimes that content has its own internal structure that a grid won’t necessarily clarify; sometimes the content needs to ignore structure altogether to create specific kinds of emotional reactions in the intended audience; sometimes a designer simply envisions a more complex intellectual involvement on teh part of the audience as part of their experience of the piece” (120).

Notable Notes

Interesting historical context for Making the Grid – ancient belief of the grid as an organizing structure following the axis of the intersection of sky and earth, Arts and Crafts movement in 19th century Britain favored design that had form follow function (continued by Frank Lloyd Wright in the US), the industrial revolution drove a need to order the world, International Style, 20th century modernism favored simplicity, corporations liked grids because they introduced continuity of design in which many workers could collaborate on the content of a project, redesign of the National Parks Services brochures in the 1970s with consistent bars and grids.

Interesting historical context of Breaking the Grid – Dadaism, Cubism, collage and montage, using Saussure and Pierce semiotics to see text as signs (semiotics), WWI reaction, WWII reaction, opposition to the status quo, rationalism, order, reaction to the horrors of the wars, Civil Rights movement, hippie movement, underground culture, 1984 Apple computer gave amateurs the tools to be designers (without having the formal grid-design training graphic designers had, so these new designers relied on intiution and felt-sense), look-at typography  (not look-through)

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