{"id":7070,"date":"2006-11-06T19:28:34","date_gmt":"2006-11-06T19:28:34","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2006\/11\/06\/kaufer-and-butl-1\/"},"modified":"2006-11-06T19:28:34","modified_gmt":"2006-11-06T19:28:34","slug":"kaufer-and-butl-1","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2006\/11\/06\/kaufer-and-butl-1\/","title":{"rendered":"Kaufer and Butler, Rhetoric and the Arts of Design<\/i>"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 5<\/span> mins<\/span><\/span>\n

Kaufer,
\n David and Brian Butler. Rhetoric and the Arts of Design<\/i>. Mahwah,
\n N.J.: Earlbaum, 1996.<\/p>\n

<\/p>\n

Interested in the "betterment of rhetoric" (305), Kaufer and Butler spell out
\nan involved model for a modularized verbal<\/i> rhetoric<\/b>. They seek to
\ndistinguish (and recuperate<\/b>) rhetoric understood as a design art<\/b>
\nfrom more pejorative designations (i.e., rhetoric of antirhetoric<\/b> and
\nrhetoric as a practical art<\/b> (23), menial, or simple). In arguing for this
\nparticular understanding of rhetoric, Kaufer and Butler frame written argument
\nas an original design art. Given an explicit focus on verbal rhetoric (words
\nalone (9)–grounded in Austin and speech acts), it’s not clear where they stand
\non materiality<\/b> (^things<\/i> are designed in language<\/i>).
\nRhetoric, for them, involves the design of abstractions<\/b> (9), and the
\n"design art" reorientation opens rhetoric to a complexity<\/b> beyond
\nhandbooks and procedurally reductive how-tos. <\/p>\n

\n
\n\"Goals<\/a>\n<\/p>\n

While the structure of their model seems rigidly executed at times, holding
\napart, for example, the rhetor<\/b> from the environment<\/b> (58), Kaufer
\nand Butler emphasize its suggestive quality rather than pitching it as a
\nprescriptive serum to perfect all rhetorical encounters. They describe the model
\nas diagnostic<\/b> at one point (305; diagnostic because of modularity<\/b>),
\nbut it is equally useful as a set of heuristics<\/b> which can be deployed to
\nstabilize<\/b> public, civic discourse<\/b> (the application throughout
\nRhet\/Arts of Design<\/i> is the Lincoln-Douglas presidential debates). In pursuit
\nof coherence<\/b>, Kaufer and Butler characterize the model as asituational
\n(i.e., portable, generalizable).<\/p>\n

The second half of the book, chapters 5-9, is devoted to explaining and
\napplying each of the modules: 5. Goals, 6. Structure, 7. Plans, 8. Tactics, and
\n9. Events. Goals and Structure are higher order modules, while Plans, Tactics,
\nand Events manifest in the design space. Tactics tend to be opponent-directed
\nand combative; Events are audience-directed and cooperative (67). Further, each
\nof the modules is coordinated with other modules (including the Strategic module
\n(268) and Presentation module (273)). The modules are, in effect, alive; they
\nare rather like Latour’s hybrids to a degree. Kaufer and Butler explain that
\nthey partially anthropomorphic<\/b> (dynamic, agentic conditions). Also called
\n"experts," the modules are entangled in a symbiotic orchestration<\/b>.<\/p>\n

^materiality, role of genre, rationalism.<\/p>\n

Rhetoric<\/b>: "Let us define rhetoric as the control of events for an
\naudience. To be more specific, let’s say that rhetoric is the strategic
\norganization and communication of a speaker’s version of events within a
\nsituation in order to affect the here and now of audience decision making" (12).<\/p>\n

Design arts<\/b>: "Design arts highlight a distinction between an agent’s
\nnaked intention, the goals outside of and motivating the design, and the goals
\nof the designer, that reside in the design. The goals of the design (e.g., fame,
\nwealth, glory, power) and the goals in<\/i> the design (e.g., balance,
\nsymmetry, restraint) coevolve. The defining conditions of a design art are that
\n(1) the goals of the design are perceptually distinct from the goals in it; (2)
\nthe artifact produced by the design depends on the coevolution and convergence
\nof these systems of goals; and as an unavoidable consequence, (3) the actor
\nrequires considerable effort and skill to bring about this evolution and
\nconvergence (29). <\/p>\n

Key terms: probability (xv), antirhetoric (2), novelty (3), absence (3),
\narchivability (3), boundedness (4), speed (4), axiomatic science (7), design
\nknowledge (7), verbal rhetoric (8), audience and opponent (10), event and
\nsituation (12), canonical event-telling (14), noncanonical event-telling (16),
\nrhetorical situation (19), ancillary events (20), practical arts (23),
\ndialectical argument as contrasted with rhetoric (26), material and symbolic
\nartifacts (33), quasi-real (33), module (37, 39), topics\/topoi<\/i> (49),
\ngoals (59), structure (61), knowledge representation (61), public space (64),
\npredictiveness and adaptiveness (76-77), public (95, 124), entity classes (109),
\nmodeling a public (129), experts (267), strategic module (268), presentational
\nmodule (273), media (296).<\/p>\n

"The cultural stereotype for rocket science applies, in more muted and modest
\nshades, to the arts in the family of arts<\/b> we associate with design–engineering,
\narchitecture, graphics, musical composition<\/b>. The principal argument of this
\nbook is that rhetoric belongs<\/b> in this family of arts as well" (xiii).<\/p>\n

"As rhetoric has tried to prove itself in the modern academy<\/b>, it has
\nhad to reshape itself to look more like an organized body of analytical
\nknowledge<\/b> and less like a form of productive knowledge<\/b>, the latter
\nconsidered more craft-like and heuristical<\/b> than principled and lawfully
\nregular. Yet as rhetoric has ‘succeeded’ in remaking itself to fit the modern
\nstandard, it has lost its bearing<\/b> as an art of production" (xvi).<\/p>\n

"Through these three material properties [archivability<\/b>,
\nboundedness<\/b>, speed<\/b>], print made it possible to foreground novelty<\/b>
\nas a new paradigm for the cultural dissemination of ideas" (4).<\/p>\n

"Work in the rhetoric of inquiry<\/b> and writing in the specialized
\ndisciplines<\/b> tries to show, in sum, how rhetoric, assumed to be a loosely
\nknit and relatively unstructured bundle of practices, finds its way into
\ndisciplines considered too highly structured to need rhetoric" (6). <\/p>\n

"We argue that rhetoric<\/b> has remained institutionally unstable<\/b>
\nas an indigenous knowledge because the academy has failed to place it where it
\ndeserves to be placed–in the family of the design arts" (7).<\/p>\n

"Design knowledge<\/b> is the knowledge associated with the architect<\/b>,
\nengineer<\/b>, and computer specialist<\/b>. It is standardly described as
\n(a) modular<\/b>, able to be broken down into parts; (b) cohesive<\/b>,
\nallowing the parts to be related back into a working whole; and (c)
\nproblem-focused<\/b>, allowing persons with the knowledge to apply it to do so
\nfor pragmatic ends. Our thesis is that rhetorical knowledge<\/b>, whether
\npracticed in civic communities or by schooled professionals, is a type of
\ndesign knowledge<\/b>" (7). <\/p>\n

"Within a construction of consciousness<\/b>, the past, present, and future
\nare integrated as overlapping horizons of time<\/b> that unite intention,
\naction, and reflection. This gives each event in a noncanonical presentation the
\nlook, not of a semantic island, but of a dispersed mass<\/b> spread across
\nsentences and paragraphs with no clear boundaries<\/b>" (18).<\/p>\n

"It has been difficult to reconcile the dignified universals of the
\nhumanities<\/b> with the interestedness, practicality, and localness of
\nrhetoric<\/b>" (21).<\/p>\n

"Given the local<\/b>, tactical<\/b>, and applied nature of rhetorical
\nknowledge<\/b>, it was and has remained impossible to defend rhetoric against the
\nearliest charges made by philosophy that rhetoric has no intrinsic interest in
\nthe universals of truth<\/b> and morality<\/b>" (22).<\/p>\n

"An ethical consideration more intrinsic to rhetoric is whether the
\naudience is empowered to see<\/b> the design behind the events constructed" (30).<\/p>\n

"To summarize, for an adequate conceptualization of rhetoric, we contend that
\nit is necessary to leave behind the practical arts<\/b> and associate rhetoric
\nwith the arts of design<\/b>" (35).<\/p>\n

"A central contention of this book is that rhetorical design<\/b> exists as
\nan entity much larger and more encompassing than the textual implementation
\nof rhetorical discourse<\/b>" (45).<\/p>\n

"The Tactics<\/b> module presupposes a viewpoint different from Plans<\/b>.
\nAlthough Plans only knows about truth and falsehood in the social world, Tactics
\nknows only about a world of gaming between a speaker and live opponents in a
\nspecific rhetorical situation. Plans knows nothing about the particulars of
\nrhetorical situations. Plans stays somewhat aloof <\/b>from the actual details
\nof any specific situation of rhetoric. Tactics<\/b> and Events<\/b> are the
\nmodules that actually ‘forage’ rhetorical situations<\/b>, modules that
\ndirectly manipulate situational inputs that can change with design structure"
\n(65).<\/p>\n

"[The Events<\/b> module] forms the basis of language we call rhetorical
\nperformatives<\/b>, like adaptations, nondeclaratives, indirection, emotives, and
\nreflexives like wit, humor, and irony" (67).<\/p>\n

"We acknowledge a partial anthropomorphizing<\/b>, that is,
\nanthropomorphizing within a module. Within a module, we have relied on an
\nanthropomorphic intelligence<\/b> to provide the mechanism by which a specific
\nmodule, within the limits of its own knowledge<\/b> and action potential<\/b>,
\n‘decides’ or ‘does’ something" (263).<\/p>\n

"Plans, Tactics, and Events operate concurrently<\/b>, as independent ‘experts<\/b>‘
\nthat look for opportunities to change a design as the state of the design
\nchanges" (267).<\/p>\n

"Conservatively, training in the studio arts is anywhere from 5 to 20 times
\nmore expensive per student than training in the humanities. To avoid the
\nexpense, it is easy to keep rhetoric the lowly practical skill<\/b> of the
\nhumanities, taught to freshman<\/b> as a rite to passage to the college
\ncurriculum<\/b>. But that is to reduce rhetoric to freshman composition<\/b>
\nand to miss rhetoric’s potential as a member in good standing with the arts of
\ndesign" (298). <\/p>\n

"We have argued that the complexity of rhetoric evinced by these debates
\nshows rhetoric to be much more than a practical art, an art comprehended or
\ncaptured by a handbook tradition. It is rather a modular art of design,
\nfulfilling all the essential definitions of such an art" (305).<\/p>\n

\n
Related sources:<\/dt>\n
Simon, Herbert. The Sciences of the Artificial<\/i>. Cambridge, Mass.:
\n MIT Press, 1996.<\/dd>\n<\/dl>\n","protected":false},"excerpt":{"rendered":"

\u23f3 Approximate reading time: <\/span> 5<\/span> mins<\/span><\/span>Kaufer, David and Brian Butler. Rhetoric and the Arts of Design. Mahwah, N.J.: Earlbaum, 1996.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[176],"tags":[639,1132,1426,1546,213,294,713,1547,178,1302,424,1544,1333,207,1318,271,1545,141,1548,210,1549,499,914,1550,1551,1552,1553,1059,1260,185,406,289,150,449,417,1554,1555,140],"class_list":["post-7070","post","type-post","status-publish","format-standard","hentry","category-visuality_and_n","tag-abstraction","tag-academic","tag-anthropomorphism","tag-antirhetoric","tag-argument","tag-art","tag-audience","tag-civic","tag-composition","tag-coordination","tag-design","tag-douglas","tag-events","tag-expert","tag-goals","tag-invention","tag-lincoln","tag-models","tag-module","tag-narrative","tag-opponent","tag-oscillation","tag-performative","tag-persuasion","tag-plans","tag-practical","tag-predictiveness","tag-print","tag-public","tag-rhetoric","tag-situation","tag-space","tag-structure","tag-tactics","tag-theory","tag-topoi","tag-verbal","tag-writing"],"yoast_head":"\nKaufer and Butler, Rhetoric and the Arts of Design - Earth Wide Moth<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.earthwidemoth.com\/blog\/2006\/11\/06\/kaufer-and-butl-1\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kaufer and Butler, Rhetoric and the Arts of Design - Earth Wide Moth\" \/>\n<meta property=\"og:description\" content=\"\u23f3 Approximate reading time: 5 minsKaufer, David and Brian Butler. 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