Ethos and Ideology of Knowledge Organization: Toward Precepts for and Engaged Knowledge Organization Drawing on The Arts and Crafts Movement, Critical Theory, and Žižek

Ethos is the spirit that motivates ideas and practices. When we talk casually about the ethos of a town, state, or country we are describing the fundamental or at least underlying rationale for action, as we see it. Ideology is a way of looking at things.It is the set of ideas that constitute one’s goals, expectations, and actions. In this brief essay I want to create a space where we might talk about the ethos and ideology in knowledge organization from a particular point of view; combining ideas and inspiration from the Arts and Crafts movement of the early Twentieth Century, critical theory in extant knowledge organization work, the work of Slavoj Žižek, and the work of Thich Nhat Hahn on Engaged Buddhism.I will expand more below, but we can say here and now that there are many open questions about ethos and ideology in and of knowledge organization, both its practice and products. Many of them in classification, positioned as they are around identity politics of race, gender, and other marginalized groups, ask the classificationist to be mindful of the choice of terms and relationships between terms. From this work we understand that race and gender requires special consideration, which manifests as a particular concern for the form of representation inside extant schemes. Even with these advances in our understanding there are still other categories about which we must make decisions and take action. For example, there are ethical decisions about fiduciary resource allocation, political decisions about standards adoption, and even broader zeitgeist considerations like the question of Fordist conceptions (Day, 2001; Tennis 2006) of the mechanics of description and representation present in much of today’s practice.Just as taking action in a particular way is an ethical concern, so too is avoiding a lack of action. Scholars in Knowledge Organization have also looked at the absence of what we might call right action in the context of cataloguing and classification. This leads to some problems above, and hints at larger ethical concerns of watching a subtle semantic violence go on without intervention (Bowker and Star, 2001; Bade 2006).The problem is not to act or not act, but how to act or not act in an ethical way, or at least with ethical considerations. The action advocated by an ethical consideration for knowledge organization is an engaged one, and it is here where we can take a nod from contemporary ethical theory advanced by Engaged Buddhism. In this context we can see the manifestation of fourteen precepts that guide ethical action, and warn against lack of action.

Ethos and Ideology of Knowledge Organization: Toward Precepts for anEngaged Knowledge Organization

This paper provides rationale for considering precepts for an engaged knowledge organization based on a Buddhist conception of intentional action. Casting knowledge organization work as craft, this paper employs Žižek’s conception of vio- lence in language as a call to action. The paper closes with a listing of precepts for an engaged knowledge organization.

Forms, Foundations, and the Ethos of Foremost: Zen Practice, Epistemology, and Ontology in Reflective Knowledge Organization

In reflecting on the practice of knowledge organization, we tacitly or explicitly root our conceptions of work and its value in some epistemic and ontological foundation. Zen Buddhist philosophy offers a unique set of conceptions vis-à-vis organizing, indexing, and describing documents.When we engage in knowledge organization, we are setting our mind to work with an intention. We intend to make some sort of intervention. We then create a form a realization of an abstraction (like classes or terms) [1], we do this from a foundation of some set of beliefs (epistemology, ontology, and ethics), and because we have to make decisions about what to privilege, we need to decide what is foremost in our minds. We must ask what is the most important thing?Form, foundation, and the ethos of foremost require evoke in our reflection on work number of ethical, epistemic, and ontological concerns that ripple throughout our conceptions of space, “good work”, aesthetics, and moral mandate [2,3]. We reflect on this.

ETHOS, ARGUMENTAÇÃO E DÉTOURNEMENT PROVERBIAL: ANÁLISE DISCURSIVA DE UM TÍTULO PUBLICITÁRIO DE VEJA

Objetivamos investigar a manifestação do ethos, produzido pelo orador no discurso, a partir da abordagem referente à modificação proverbial, denominada por Maingueneau e Grésillon (1984) de détournement proverbial por ‘captação’ e détournement proverbial por ‘subversão’. A primeira classificação evidencia um artifício persuasivo de mudança na apropriação do provérbio; entretanto, mesmo com a “desconstrução” aplicada, o détournement proverbial mantém-se dentro de sua estrutura semântica original. A segunda classificação procura subverter o détournement proverbial, discordando do teor semântico subjacente na composição do provérbio original. No título publicitário em questão, observamos a existência de uma nova estratégia na qual o enunciador, em um harmonioso jogo de palavras, capta e, ao mesmo tempo, subverte o provérbio, resultando em uma eficaz técnica argumentativa. Assim, à categorização dos pesquisadores, adicionamos o détournement proverbial de ‘entremeio’.

ARGUMENTOS E ETHOS DISCURSIVO EM “RICOS E POBRES”

O profissional da área de linguagem deve ter o compromisso de explorar os aspectos relevantes ao gênero textual selecionado para trabalhar em sala de aula junto aos seus alunos, pois se acredita que a exploração destes aspectos é necessária para se compreender os significados discursivos possíveis na relação texto e contexto. Refletindo sobre esta questão é que este artigo centra-se no estudo da crônica Os Ricos e Pobres, escrita por Martha Medeiros e publicada no caderno Donna, do jornal Zero Hora dominical, de dois de julho de dois mil e seis, tendo por objetivo a análise dos argumentos explorados pela escritora e do ethos discursivo, que gradativamente é construído no desenvolvimento da argumentação. A sustentação teórica desta análise está centrada, principalmente, em Reboul (2000) e Amossy (2005), para estabelecer a identificação dos argumentos e do ethos discursivo a partir das escolhas lexicais apresentadas por quem realiza a produção, neste caso, Martha Medeiros, e que se tornam elementos lingüísticos importantes para quem consome, ou seja, os leitores do caderno Donna, especificamente da coluna produzida por Martha. Assim, acredita-se que tal análise seja de substancial valor para que, a partir dela, se torne possível ao profissional de linguagem, estabelecer propostas de trabalho com os alunos, cujos resultados sejam significantes e funcionalmente relevantes em suas vidas, possibilitando-lhes aguçar sua capacidade crítica diante das leituras realizadas.

A construção do ethos do sujeito enunciador em Cartola

RESUMO: Sabemos que, por força do esforço de convencimento, o orador é capaz de projetar, ao produzir seu discurso, uma imagem de si que pode diferir de sua imagem enquanto sujeito empírico. É com base nessa perspectiva que nos propomos a analisar a construção da imagem, ou seja, o ethos, do sujeito enunciador em textos da modalidade do cotidiano, mais especificamente em letras de canções do renomado sambista Cartola. A representação dessa imagem se dá através das escolhas lingüísticas que o enunciador faz no ato de construção de seu discurso, lugar de engendramento do ethos. No caso da canção popular, o compositor, com simplicidade, procura agradar não só o gosto popular indiferenciado, mas, muitas vezes, igualmente ao interlocutor mais letrado e mais culto. As letras de Cartola, músico muito elogiado e admirado pela maioria dos sambistas, falam de amor sem serem vulgares, revelando fugir ao lugar comum. Considerando a preferência temática recorrente em suas composições, pode-se caracterizar seu samba como pertencente à formação discursiva da chamada “dor de cotovelo”. Assim, pretendemos averiguar em quais estereótipos, enunciados que apontem para uma determinada formação discursiva, está ancorado o ethos discursivo desse enunciador.  

Impediments to Cosmopolitan Engagement: Technology and Late-Modern Cosmopolitanism

What characterises late modern variety of cosmopolitanism from its classical predecessors is the inherent connection between cosmopolitanism and technology. Technology enables a vital dimension of the cosmopolitan experience – to move beyond the cosmopolitan imagination to enable active, direct engagement with other cultures. Different types of technologies contribute to cosmopolitan practice but in this paper we focus on a specific set of these enabling technologies: technologies which play a crucial role in regulating the free movement of people and populations. We briefly examine how three of the great surveillance states of the 20th century – Nazi Germany, the Soviet Union, and the German Democratic Republic – used hightech solutions in pursuing an anti-cosmopolitanism. We suggest that in the period from 2001 to the present, important elements of the cosmopolitan ethos are being closed down, and once again high-tech is intimately connected to this moment. The increasing (and proposed) use of identity cards, biometric identification systems, ITS and GIS all work to make the globalised world much harder to traverse and inhibit the full expression and experience of cosmopolitanism. The result of these trends may be that the type of cosmopolitan sentiment exhibited in western countries is an ersatz, emptied out variety with little political-ethical robustness.

21st Century politics : new faces/new spaces

Politics has been described as a man’s game and a man’s place. Further, the design of houses of politics also embeds this dominant masculine ethos. Traditional Chambers have been large with only limited seating arrangements ensuring that only privileged elite can participate and both officials and the public are located at some distance and separate from the elected officials. Such a Chamber ensures that Members need to face each other and the dominant interaction is adversarial. Within this system however, women have been able to carve out new spaces, or use existing ones in different ways, to become more involved with the mechanisms of parliament and provide alternative routes to leadership. In doing so, they have introduced elements of the private domain (nurturing, dialogue and inclusion) to the public domain. The way in which space is used is fundamental and its treatment has consequences for individuals, organizations and societies (Clegg and Kornberger 2006). Dale’s (2005) work emphasises the social character of architecture which recognises the impact which it has on the behaviours of individuals and nowhere is this more pertinent than the way the Australian Parliament House operates. This paper draws on the experiences of Australian parliamentarians to examine the way in which the new Australian Parliament House shapes the way in which the Australian political cultural norms and practices are shaped and maintained. It also seeks to explore the way the Members of Parliament (MPs) experience these spaces and how some MPs have been able to bring new ways of utilising the space to ensure it is more accommodating to the men and women who inhabit this building at the apex of Australia’s political life. In doing so, such MPs are seeking to ensure that the practices and processes of Australia’s political system are reflective of the men and women who inhabit this national institution in the beginning of the 21st century.

Printmaking as an expanding field in contemporary art practice : a case study of Japan, Australia and Thailand

This thesis proposes that contemporary printmaking, at its most significant, marks the present through reconstructing pasts and anticipating futures. It argues this through examples in the field, occurring in contexts beyond the Euramerican (Europe and North America). The arguments revolve around how the practice of a number of significant artists in Japan, Australia and Thailand has generated conceptual and formal innovations in printmaking that transcend local histories and conventions, whilst paradoxically, also building upon them and creating new meanings. The arguments do not portray the relations between contemporary and traditional art as necessarily antagonistic but rather, as productively dialectical. Furthermore, the case studies demonstrate that, in the 1980s and 1990s particularly, the studio practice of these printmakers was informed by other visual arts disciplines and reflected postmodern concerns. Departures from convention witnessed in these countries within the Asia-Pacific region shifted the field of the print into a heterogeneous and hybrid realm. The practitioners concerned (especially in Thailand) produced work that was more readily equated with performance and installation art than with printmaking per se. In Japan, the incursion of photography interrupted the decorative cast of printmaking and delivered it from a straightforward, craft-based aesthetic. In Australia, fixed notions of national identity were challenged by print practitioners through deliberate cultural rapprochements and technical contradictions (speaking across old and new languages).However time-honoured print methods were not jettisoned by any case study artists. Their re-alignment of the fundamental attributes of printmaking, in line with materialist formalism, is a core consideration of my arguments. The artists selected for in-depth analysis from these three countries are all innovators whose geographical circumstances and creative praxis drew on local traditions whilst absorbing international trends. In their radical revisionism, they acknowledged the specificity of history and place, conditions of contingency and forces of globalisation. The transformational nature of their work during the late twentieth century connects it to the postmodern ethos and to a broader artistic and cultural nexus than has hitherto been recognised in literature on the print. Emerging from former guild-based practices, they ambitiously conceived their work to be part of a continually evolving visual arts vocabulary. I argue in this thesis that artists from the Asia-Pacific region have historically broken with the hermetic and Euramerican focus that has generally characterised the field. Inadequate documentation and access to print activity outside the dominant centres of critical discourse imply that readings of postmodernism have been too limited in their scope of inquiry. Other locations offer complexities of artistic practice where re-alignments of customary boundaries are often the norm. By addressing innovative activity in Japan, Australia and Thailand, this thesis exposes the need for a more inclusive theoretical framework and wider global reach than currently exists for ‘printmaking’.

The culture of the Christian school

In discussions of educational administration theory, school culture has emerged as a contentious construct characterized by polarized positions. The underlying tensions are between conflicting structuralist and post-structuralist perspectives. These have led to views of Christian school culture and school organization as being either, on the one hand, static, positivist, hierarchical, individualistic and capitalistic or, on the other, dynamic, coherentist, communally interdependent, service oriented and Christ-centered. All schools demonstrate an ethos or organizational culture by default if not by design. It is therefore imperative for Christian school administrators, educators, and the community to consciously define the aspects of school culture that reflect the shared biblical values of the Christian school community.

Re-framing fashion : from original and copy to adaptation

This article discusses the interaction between original and adaptation in the fashion system; the study also analyses, at a micro level, practices of adaptation adopted by consumers when making and re-making fashionable clothes. The article shows that the distinction between original and copy is historically determined as it grew out of the romantic notion of the authentic work of art. This article suggests that, in the impossibility to determine copyright in fashion, adaptation is a better descriptor of practices that transform garments; the concept of adaptation also abolishes trite notions of fashion as pastiche or bricolage, arguing for as a way to look at the many variations and re-contextualisations of garments historically and cross-culturally.

Full Circle : a collection of prototypes

This exhibition engages with one of the key issues facing the fashion textiles industry in terms of future sustainability: that of the well being of fashion industry workers in Australia and New Zealand (people). This collection formed the basis of my honours dissertation (completed in New Zealand in 2008) which examines the contribution that design can make to sustainable manufacturing; particularly design for local production and consumption. An important aspect this work is the discussion of source, the work suggests that the made in China syndrome (in reference to the current state of over-consumerism in Australia and New Zealand) could be bought to a close through design to minimize waste and maximize opportunity for ‘people’: in this case both garment workers and the SMEs that employ them. The garments reflect the possibilities of focusing on a local approach that could be put into practice by a framework of SMEs that already exist. In addition the design process is highly transferrable and could be put into practice almost anywhere with minimal set up costs and a design ethos that progresses at the same pace as the skills of workers. This collection is a physical and conceptual embodiment of a source local/make local/sell local approach. The collection is an example of design that demonstrates that this is not an unrealistic ideal and is in fact possible through the development of a sustainable industry, in the sense of people, profit and planet, through adoption of a design process model that stops the waste at the source, by making better use of the raw materials and labour involved in making fashion garments. Although the focus of this research appears to centre on people and profit, this kind of source local/make local/sell local approach also has great benefits in terms of environmental sustainability.

A formative evaluation of the Stronger Smarter Learning Communities Project. 2011 report.

This report is a formative evaluation of the operations of the DEEWR funded Stronger Smarter Learning Community (SSLC) project from September 2009 to July 2011. It is undertaken by an independent team of researchers from Queensland University of Technology, the University of Newcastle and Harvard University. It reports on findings from: documentary analysis; qualitative case studies of SSLC Hub schools; descriptive, multivariate and multilevel analysis of survey data from school leaders and teachers from SSLC Hub and Affiliate schools and from a control group of non-SSLC schools; and multilevel analysis of school-level data on SSLC Hubs, Affiliates and ACARA like-schools. Key findings from this work are that: • SSLC school leaders and teachers are reporting progress in changing school ethos around issues of: recognition of Indigenous identity, Indigenous leadership, innovative approaches to staffing and school models, Indigenous community engagement and high expectations leadership; • Many Stronger Smarter messages are reportedly having better uptake in schools with high percentages of Indigenous students; • There are no major or consistent patterns of differences between SSLC and non-SSLC schools in teacher and school leader self-reports of curriculum and pedagogy practices; and • There is no evidence to date that SSLC Hubs and Affiliates have increased attendance or increased achievement gains compared to ACARA like-schools. Twenty-one months is relatively early in this school reform project. Hence the major focus of subsequent reports will be on the documentation of comparative longitudinal gains in achievement tests and improved attendance. The 2011 and 2012 research also will model the relationships between change in school ethos/climate, changed Indigenous community relations, improved curriculum/pedagogy, and gains in Indigenous student achievement, attendance and outcomes. The key challenge for SSLC and the Stronger Smarter approach will be whether it can systematically generate change and reform in curriculum and pedagogy practices that can be empirically linked to improved student outcomes.

Print media portrayals of giving : exploring national ‘cultures of philanthropy’

In their 2010 study drawing on 500 empirical philanthropy studies, Bekkers and Wiepking identified eight consistently significant giving mechanisms. The pilot study reported here extends what is known about one mechanism, values, as a giving driver, in particular considering how national cultural values apply to giving. Personal values are not formed in a vacuum. They are influenced by the wider culture and society: thus values have a socio-cultural dimension. Accordingly, this pilot research draws on media theory and cultural studies work on national ethos to explore how these national cultural values interact with giving. A directed qualitative content analysis has been undertaken to compare US and Australian print media coverage about philanthropy. The two nations share an Anglo–Saxon orientation but differ significantly in national character and philanthropic activity. This study posits that a nation's media coverage about giving will reflect its national cultural ethos. This coverage can also shape personal values, thus implications exist for theory about the antecedents of personal giving values. Wider national values may drive or stifle giving, so this wider view of values as a driver has implications also for philanthropy promotion and fundraising.

The knock-on from the knock-off : recent shifts within Australian mass market fashion design practice

Australia’s mass market fashion labels have traditionally benefitted from their peripheral location to the world’s fashion centres. Operating a season behind, Australian mass market designers and buyers were well-placed to watch trends play out overseas before testing them in the Australian marketplace. For this reason, often a designer’s role was to source and oversee the manufacture of ‘knock-offs’, or close copies of Northern hemisphere mass market garments. Both Weller (2007) and Walsh (2009) have commented on this practice. The knock-on effect from this continues to be a cautious, derivative fashion sensibility within Australian mass market fashion design, where any new trend or product is first tested and proved overseas months earlier. However, there is evidence that this is changing. The rapid online dissemination of global fashion trends, coupled with the Australian consumer’s willingness to shop online, has meant that the ‘knock-off’ is less viable. For this reason, a number of mass market companies are moving away from the practice of direct sourcing and are developing product in-house under a Northern hemisphere model. This shift is also witnessed in the trend for mass market companies to develop collections in partnership with independent Australian designers. This paper explores the current and potential effects of these shifts within Australian mass market design practice, and discusses how they may impact on designers, consumers and on the wider culture of Australian fashion.