John Dewey on the Art of Communication

John Dewey once wrote: "Of all affairs, communication is the most wonderful." For him communication is the highest of the "arts of life," for it is in communication that society is born and nurtured. It is by communication that we discover the possibilities of nature. And it is through communication that we make our shared experience meaningful. It is no wonder, then, that Dewey would conclude The Public and Its Problems with this provocative statement: Democracy "will have its consummation when free social inquiry is indissolubly wedded to the art of full and moving communication."Dewey, however, does not adequately explain what he understands by "the art of full and moving communication" and never tells us how "communication" functions in the varied contexts of practical life. Despite, then, his obvious affection for communication, he leaves many questions about it unanswered. For instance, what makes communication possible? In what kind of situations is communication called for and why? How does an inchoate feeling or idea find concrete embodiment in language? What are the connections among language, communication, thought, feeling, and action? Most importantly, what is the process by which one employs the art of communication to influence the beliefs and behaviors of others? This dissertation addresses these questions by approaching Dewey's thinking on communication from a distinctly rhetorical perspective. Even though Dewey almost never mentions "rhetoric" in his entire corpus, I argue that it is precisely the absence of the term from his writings that makes a rhetorical reading of his work all the more imperative. Such a reading permits us to understand the practical importance of the "art of communication" in the larger context of his social thought. If, then, the problem with Dewey's writing on communication is that it often drifts into abstractions, one remedy is take those abstractions and place them into concrete situations, where communication is required to transform some part of the environment through transaction with human thought and action. Because this kind of activity has been the specific domain of rhetoric since the time of the sophists, it is only appropriate to read Dewey's work through that tradition.In effect, the goal of this dissertation is to explicate Dewey's theory of communication in the terms of a rhetorical theory. But insofar as his thought went through three distinct "periods" in his lifetime, beginning with his Idealistic period in 1880, moving into his Experimental period in 1903, and culminating in his Naturalistic period in 1925, Dewey can be said to have had three implicit rhetorical theories. To articulate and explain each of these theories, I trace Dewey's theoretical development through time and construct, through published works, private correspondence, and biographical material. I show that the first theory envisioned rhetoric as a form of eros that helps us grow towards Absolute self consciousness. The second theory views rhetoric as a form of critical inquiry whose goal is the development of phronçsis, or practical wisdom. The third theory treats rhetoric as a productive technç, or a naturalistic form of art that has the power to transform experience, nature, and society through its transactional character.By tracing Dewey's theoretical development and explicating three implicit theories of rhetoric in his writings, this dissertation not only provides a unique perspective on Dewey's changing views on language, ontology, and social practice, but also demonstrates how each theory can still be effectively used to interpret and guide the art of rhetoric. This kind of work enables us to grasp different facets of this diverse and vibrant art. At the same time, it shows how Dewey's work remains an important resource for those who wish to promote and sustain a democratic way of life by educating citizens in the art of full and moving communication

Darwin’s neuroscientist: Gerald M. Edelman, 1929-2014

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Identity and affect in design cognition

Much Design Research effort has been afforded to investigating how designers think and what they do; often in the form of protocol analysis. These investigations have mainly focused on how designers influence material culture however, little attention has been paid to another line of enquiry; that is how the act of designing affects the individual undertaking the work and the role of social psychological phenomena e.g. attitudes, evaluations, emotions, impressions, motivations and social behaviour - on design activity. This interplay of affect between design activity and a designer’s social psychological behaviour is a complex two way process that warrants further investigation. Our research agenda focuses on the individual undertaking design activity and asks how does designing affect the designer and their behaviour? In this paper two issues are addressed: 1. The immediate effects of design activity on the designer 2. The role of self-concept in design cognition These two issues are investigated through a series of experiments carried out under semi-controlled conditions using several forms of observation and novel self-concept inventories. This paper draws attention to the need to consider self-concept and affect in design cognition and introduces the idea of design identity, which is uniquely different to the concept of design experience often quoted in the literature. This is an area of the ongoing research agenda within the Department of Design and Technology, Loughborough University, UK. Keywords: Design Activity; Design Behaviour; Psychology of Design; Self-Concept; Immediate Effects</p

Casting Polymer Nets to Optimize Noisy Molecular Codes

Life relies on the efficient performance of molecular codes, which relate symbols and meanings via error-prone molecular recognition. We describe how optimizing a code to withstand the impact of molecular recognition noise may be approximated by the statistics of a two-dimensional network made of polymers. The noisy code is defined by partitioning the space of symbols into regions according to their meanings. The "polymers" are the boundaries between these regions and their statistics defines the cost and the quality of the noisy code. When the parameters that control the cost-quality balance are varied, the polymer network undergoes a first-order transition, where the number of encoded meanings rises discontinuously. Effects of population dynamics on the evolution of molecular codes are discussed.Comment: PNAS 200

Taste and morality at Plymouth Grove: Elizabeth Gaskell’s home and its decoration

In 2010 Manchester Historic Buildings Trust appointed Crick Smith Conservation to analyse the paint and decorative finishes of the Gaskell’s House at 84 Plymouth Grove, Ardwick, Manchester. The purpose of this commission was to inform the Trust of the way that decorative surfaces were treated during the period of the Gaskell family occupancy and to make recommendations for the reinstatement of the decorative scheme. This article will examine Elizabeth Gaskell’s attitude towards taste and interior decoration and then explain how the techniques of architectural paint research can be used to establish an authoritative account of the decorative scheme implemented at Plymouth Grove during her lifetime. We will argue that this enhanced understanding of how Gaskell handled the decoration and furnishing of her home can contribute towards our understanding of the author’s life and work

Mediated Support for Learning Enhancement (ELLI) (Effective Lifelong Learning Inventory)

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