Communication as Ritual

• Communication, commonness, communion.
• James Carey: the model directs our attention “not toward the extension of messages in space but toward the maintenance of society in time; not the act of imparting information but the representation of shared beliefs".
• Akin to religious mass.
• Akin to reading a paper “[n]ews reading, and writing, is a ritual act and moreover a dramatic one. What is arrayed before the reader is not pure information but a portrayal of the contending forces in the world [emphasis added]” (p. 16).

<hr>

Dysfluent Accidents as Ritual

• Carol Padden: Ritual emphasizes “performance, activity, and the materiality of communication itself. In this framework, meaning is not so much the definition of a word or sentence but instead is constructed in situ, in social and cultural activity” (p. 44).
• Unlike sending a message, meaning gets enacted in the very midst of unruly bodies that excrete “all levels of expression, from the minute details of discourse—from pitch, emphasis, gesture, head tilts, and eye gaze” (p. 44).
• Moreover, since communication happens “on site,” time cannot be transcended or otherwise avoided with speed but must be lived through.

• Crossed Wires: perhaps it's not that my grumpy co-worker “misheard” my stuttered speech, but that he didn’t want to listen and did not want to belong in time to a common world with this disabled person.
• The Stall: “Part of it feels like my body goes into a kind of supplication or prayer almost. I have a friend who once referred to it as ‘watching me ask for the word’” (Ellis, 2020, n.p.).
• The misfire: “The unexpectedness of stuttering forces both listener and speaker into a space of trust and vulnerability. They must both give up control of the situation. The person speaking does not know when and for how long they will stutter. Likewise, the person listening does not know when to expect a stutter. In order for both people to communicate, they must trust one another. (Constantino 2016, para. 5)
• Ritual? Anti-ritual?

My dilemma as an SLT

How best to support speech and language therapists who are working with children and adults who stutter so that they work as allies in the context of evidence which shows that stuttering therapy has an overall positive effect.  No one treatment approach for stuttering demonstrates significantly greater effects over another treatment approach. Herder, Howard, Nye, & Vanryckeghem (2006).

• Need to validate professional identities that support.
• Learning from people who stutter.
• Therapy which focuses on positive outcomes in terms of children and adults living the lives they want  to live and the development of therapy that focuses on education and resistance to normalising discourses.
• Resists focus on fluency and cure in therapy.
• Focus on confidence, fun and delight in finding and validating identities which fit with our dreams, hopes and ambitions.

What is the fluent gaze? Can we see it in cinema? Is the gaze the right conception due to the auditory nature of stammering? Is there an oppositional gaze: a stammered/dysfluent gaze?

<hr>

‘The scene for the portrait is designed by a stammerer; photographed and painted by a stammerer; of a stammerer stammering. The stammered gaze.’ — Patrick Campbell

<hr>

Close-up of Dysfluent mono typeface, in use in Dysfluent magazine issue 1.

‍

• Fluent ↔︎ Stuttered
• Medical models ↔︎ Social models
• Speech restructuring therapies ↔︎ Neurodiversity

<hr>

Authentic self as fluent

Authentic self is repressed by bodily power (pathology). We can liberate the self by restoring normal functioning.

• Behavioral therapy.
• Medication.
• Surgery.

<hr>

Authentic self as stuttered

Authentic self is repressed by social power (ableism). We can liberate the self by rejecting fluency.

• Stuttering pride.
• Activism.
• Creative expression.
• Identity is always relative.

<hr>

Identity is always relative

There is no true self to be emancipated, there is only different selves constituted through power relations.

I am constantly being encouraged to pluck out some one aspect of myself and present this as the meaningful whole, eclipsing or denying the other parts of self.

— Lorde (1984)

<hr>

A rejection of authenticity does not necessarily lead to determinism.

We are free in so far as we continuously rebelling against the ways in which we are already defined, categorized, and classified.

Publication

The action of making 
something generally known.

— Oxford Dictionary

The format that the text / typeface is packaged in is as important as the textual content or typeface itself. Kind of like how in JJJJJerome’s work, there’s an interesting relationship to song or score sheets, through his use of a publication that is linked to his music. The format of this requires a unique level of engagement from the reader and listener.

Since I created the first issue of Dysfluent, I have been thinking about how the format of a publication defines the intent behind the work. It made me think about while there is a certain power to publication, there is also a quietness and consideration to it. At least from a design or artistic perspective, it requires a great deal of engagement from the viewer.

<hr>

Protest

A statement or action expressing disapproval of 
or objection to something.

— Oxford Dictionary

Recently I have been thinking of this concept of display, or posters, or for lack of a better term, protest.

Protest to me is really interesting from a creative or design stand point. For a person to display a poster, it is a deliberate act of reflecting an inner voice or identity, for the world to see.

I think of teenagers pinning up posters in their bedrooms, and of people marching on the streets voicing concerns. There is a certain passion or aggression (maybe not the right word?) to the idea of posters.

How does the idea of protest or display speak to earlier discussions on stigma?

I was interested to see what Fiona showed earlier in our talks, that banner where children visualised their stammer. There is something really nice there in terms of displaying their dysfluency.

It gets me thinking then. What is the content of the posters? What do they say? Do they need to say anything? or can they just be visualisations of dysfluency?

To stutter is often to feel the edges and the walls of lamguage, in the mouth, in the glottis, on the face, in the chest. It can be to experience those parts of language which do not signify but that force us to encounter the stuff that language is made of and the other buccal functions from which language is inseparable, such as eating, breathing, chocking, kissing, humming, hissing, coughing, drinking, sucking, vomiting, licking, swallowing, wheezing, and blowing. We often avoid paying attention to the stuff of language because it reminds us of the mechanical and involuntary crust upon the transparent flow of social and economic institutions and the rational expectations of social interactions.

I have two examples about what it might mean to experience the matter of language queered. The first I’ll call wood, and it comes from the Italian thinker Giorgio Agamben. Agamben writes in his essay “The Idea of Matter:”

“There where language ends is not where the unsayable begins, but rather the matter of language. He who has never reached, as in a dream, that woodlike substance of language that the ancients called silva remains, even when he is silent, a prisoner to representations.”  

— Agamben.

This is a very loaded assertion, but by “prisoner to representations” Agamben is referring to a use of language that is reduced to transparent meaning, pre signification, supple communication, and pure intelligibility that conceals the medium of that which you use to communicate. You’re a fly in a box who doesn’t see the glass walls. Silva, meaning wildwood, is also a term for a poetic form enjoyed by the ancient Romans, and it trades on its metaphorical meaning as material for construction. If language is woodlike, it has a texture, a grain, colour, rings. It is hard while it can be broken down, built up, pulped, and refigured. It is attached to non-wood things like leaves. Agamben’s reference to the dream gives it a more ethereal resonance. Without going too deeply into the dream theory, Freud noticed that words are often treated in dreams as though they were things. Jean-Francois Lyotard provides an example from a poster of what dreaming does to language. In Frédéric Rossif’s poster Révolution d'Octobre, the words are physically folded as if rippled on a 3D surface by the wind, and the letters become distorted. Conor Foran’s stuttering font is another example of the distortion of words by the pressures of desire upon language. Language can do a great deal outside of representation.

<hr>

‍

6A01.1 Developmental speech fluency disorder.

International Classification of Diseases for Mortality and Morbidity Statistics.

Developmental speech fluency disorder is characterised by frequent or pervasive disruption of the normal rhythmic flow and rate of speech characterised by repetitions and prolongations in sounds, syllables, words, and phrases, as well as blocking and word avoidance or substitutions. The speech dysfluency is persistent over time. The onset of speech dysfluency occurs during the developmental period and speech fluency is markedly below what would be expected for age. Speech dysfluency results in significant impairment in social communication, personal, family, social, educational, occupational or other important areas of functioning. The speech dysfluency is not better accounted for by a Disorder of Intellectual Development, a Disease of the Nervous System, a sensory impairment, or a structural abnormality, or other speech or voice disorder.