Deep Throat was the mysterious character who said Follow the money! in All the Presidents Men, a movie about the Watergate scandal. 30 plus years since Watergate and now that Deep Throat has revealed his true identity few still remember this scandalous political event. This gives us good cause to carry the torch for life, liberty, and the pursuit of happiness and against the corrupt powers of money that can subvert our democratic freedoms. However, carrying the mantra Follow the money! can be a double edged sword if we are not careful how Deep Throats message is applied.
The US Congress passed HR3163, the `Uniting and Strengthening America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism (USA PATRIOT ACT) Act of 2001'. This act expanded government powers to
Following the money is a valuable technique to trace corruption and is used by political parties, religions, the military, social activists, farmers, the health care industry, education, the federal government, local governments, science, corporations and just about everyone who wants to track what their opponents are doing. Money is liquid and powerful. The trail of a corrupt operation can be determined by tracking the source and use of money.
In the case of Watergate, an investigation of the links between James W. McCord, Jr and the CIA, determined that McCord received payments from the Committee to Re-elect the President (CREEP). McChord was one of the burglars discovered and arrested for breaking into the headquarters of the Democratic National Committee at the Watergate Hotel. The money trail quickly suggested there was a link between the burglars and someone close to the President. Richard Nixon was later impeached as the president of the United States because of the Watergate scandal.
Corruption is a general concept describing any organized, interdependent system in which part of the system is either not performing duties it was originally intended to, or performing them in an improper way, to the detriment of the system's original purpose. Corruption happens in government when money is going to the wrong people or for the wrong reasons. This happens with both political contributions and federal subsidies. Watchdogs groups in Washington D.C. and around the country "follow the money" of political campaigns and lobbyist groups to determine if corruption exists. One such group called Follow Your Money, http://www.followyourmoney.com/, has political giving information reporting that Wal Mart is the 9th largest contributor to the republican party giving three and one have million dollars. On the flip side government subsidies are also watched by activist organizations to determine if the system is being abused. Good Jobs First, http://www.goodjobsfirst.org/, a Washington-based subsidy watchdog group found that one billion dollars of government subsidies have gone to Wal Mart over the years helping it become the world's largest retailer. You can determine for yourself if you feel the information points towards any link between political contributions and government subsidies.
Being personally informed about who benefits from the flow of money in political campaigns, lobbying efforts by business, or supply chains, for example, can help individuals see the corrupt influence of money on outcomes that affect our own lives. This does not mean becoming mistrustful of everyone. Instead of nourishing a negative spirit, promote a healthy perspective by staying informed about facts related to the flow of money by accessing various websites or other information that helps you form an opinion about financial influences. Some links that might be helpful to you in following the money are: http://www.followthemoney.org/, and http://www.opensecrets.org/.
Informed voters in the State of Maine proactively passed a clean elections referendum in 2003 which encourages politicians not to follow the money. "Clean Elections is a practical, proven reform that puts voters in control of elections. Rather than being forced to rely on special interest donors to pay for their campaigns, candidates have the opportunity to qualify for full public funding which ends their reliance on special interest campaign cash. Being freed from the money chase means they have more time to spend with constituents, talking about issues that matter to them. When they enter office, they can consider legislation on the merits, without worrying about whether they are pleasing well heeled donors and lobbyists." (http://www.publicampaign.org/clean123)
"When the Maine legislature passed the Dirigo health care law, which would provide near-universal health care coverage for Mainers, a majority of legislators had won their offices under the Clean Elections system. "No private money meant no campaign contributions from hospitals, or insurers, or from any other big-money interest that might want to scuttle the Dirigo plan. Publicly funded legislators were free to support this legislation without any concern for the big-money special interests that might oppose such a law, wrote Rep. Jim Annis, a Republican, and Rep. John Brautigam, a Democrat, in a piece for the Hartford Courant in October 2005." (Nancy Watzman, Yes Magazine, 2006)
Following the money is an effective tool to detect corruption and terrorism. However, not following the money seems like an even better tool to accomplish positive goals like clean elections and universal health care without giving up important constitutional rights like the right to privacy.
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"Deep Throat" was the mysterious character who said "Follow the money!" in All the Presidents Men, a movie about the Watergate scandal in the United States. The trail of a corrupt operation can often be determined by tracking and publicizing the source and use of money. Following the money is a simple, valuable, and sometimes dangerous approach to uncovering corruption.
Theater, viewing and participating in performances, is an ancient yet vital cultural force. Although "legitimate" or mainstream theater has traditionally been a gathering place for the exchange of ideas, it is largely irrelevant in today's world as a tool for social change. Forces which have contributed to this situation include economic factors, dwindling audiences, the talent drain to other mediums, the transformation of audience tastes and expectations as a result of film and television, and the decline of the avant-garde as alternative to legitimate theatre.
Illegitimate Theater can be "legimitate" response in almost any setting of ordinary — and extraordinary — life. It can be practiced in any place where an "audience" might be found.
"Legitimate theater" engages a paying audience sitting inside a theater with the expectation that they will watch the performance of a play or musical. These productions employ conventions normally associated with traditional theater: lights up and down, applause at the end of acts, a proscenium stage, professional actors working with prepared scripts, no significant interaction between performers and spectators.
Less than 2 percent of the population in the United States attends legitimate theater performances.
While legitimate theater has lost much of its relevance to our everyday lives, theater (or performance) in the broad sense is a fundamental human experience. As such it represents a reservoir of immense potential that a mediated experience can rarely provide: the potential for human interaction. Film and video provide a stream of images to watch, but no experiences in which the viewer can actually participate. Everyday life is often a sequence of ordinary, that is expected, events. One's life experiences easily become insulated from important world events — and the possibility of learning from new experiences as well. Ordinariness becomes a form of oppression and a steady dumbing down of society is deleterious to culture and to democracy as well. Performance provides an immediate human experience. Theater — particularly its "illegitimate" varieties — can also punctuate the ordinary and thrust new and unexpected experiences into everyday life. It has the power to bring a person into new, temporary realities in which the self is momentarily forgotten and submerged. Theater can empower the spectator with insight and possibilities.
Baz Kershaw in his insightful study of the British Alternative Theatre Movement over four decades explicitly addresses the role of theater as an instrument of "cultural intervention." His book (1992) "is about the ways in which theater practitioners have tried to change not just the future action of their audiences, but also the structure of the audience's community and the nature of the audience's culture." This pattern affirms Kershaw's observation: New theater should accompany a new society.
Other phrases — such as Theater Without Theater, Anti-Theater, Meta-Theater, The World's a Stage, Social Performance, Guerilla Theater, or Oppositional (or Radical or Provocative) Theater — are variations on the title of this pattern. Each of these alternative formulations focuses on some attributes and not on others. We use the term "Illegitimate Theater" primarily to highlight the differences between it and legitimate theater. Illegitimate theater can describe any performances in which one or more conventions of the legitimate theater are circumvented. For example, the convention of a single, discrete performance can be ignored in illegitimate theater. Thus, a "one-two punch" can be delivered, possibly anonymously: Half of the cast can "perform" — in Starbucks, at the zoo, or, even, a traditional theatrical venue — while the other half of the cast can "accidentally" encounter the audience afterwards and engage with them a second time, perhaps in dialogue, perhaps again as spectators, perhaps as actor / participants in a new performance that builds on ideas of the original one. The French group Le Grand Magic Circus devised a performance which gradually added the spectators (while withdrawing their members) at the "end" of their performance until finally the spectators were the only ones left "performing" (Bennett, 1990).
Performance is an extremely broad term that characterizes an infinite number of situations including sports, rituals, education, carnivals, politics and protest. It can encompass everyday social events such as shopping, eating in restaurants, going to parties or hanging out. Performance can be spontaneous or planned, obviously "staged" or masquerading as "real life," artistic, political, cultural. The advent of performance studies as an academic discipline which transcends the traditional notion of the theater has contributed to our understanding of these myriad forms.
Bertolt Brecht, the most influential artist/advocate of theater for social change, rejected Aristotelian drama (the basis of Legitimate Theater) in favor of the Epic or Dialectical Theater. His theories and plays, such as Three Penny Opera" and Mother Courage, blur the line between real life and performance, reveal the mechanics of production, present actor and character simultaneously, and employ a wide range of techniques designed to rouse the audience to social action. The venerable San Francisco Mime Troupe with performances such as Fact Wino vs. Armagoddonman,Damaged Care, and Mr. Smith Goes to Obscuristan, is a more recent incarnation of Brechtian rebellion. Augusto Boal from Brazil, a Workers' Party (PT) activist, pioneered "Theater of the Oppressed" and other forms of participatory role-playing theater that has helped audiences to explore and recognize their own predicaments while fostering cooperation and critical engagement.
Many public protests, especially those that include role playing, dramatic encounters, or masks, puppets and other props can be viewed as a type of performance. When Greenpeace's sailing ship "Rainbow Warrior" confronts a nuclear submarine or whaling ship, two symbolic worlds collide. Crosses symbolizing those killed in Iraq spring up in Crawford, Texas near the ranch of U.S. President George Bush; Argentine mothers and grandmothers clothed in mourning black stand before the president's Casa Rosa in Buenos Aires. More recently social activists employing techniques of illegitimate theater, have emerged to confront corporate globalization. These include the marching bands and giant puppets in the 1999 protests against the World Trade Organization in Seattle, Reverend Billy from the Church of Not Shopping who orchestrates chain store "interventions" to "unlock the hypnotic power of transnational capital" and the "Yes Men" who have "played the roles" (as they satirically interpreted them) of various corporate and organizational officials to unsuspecting audiences around the world.
As Clifford Geertz would say — and Shakespeare before him — the world is truly a stage and everything we do in public is a type of performance. This of course means in a trivial sense that everyday life provides a venue for exhibition and self-promotion. The media exploits people's desire for "fame" (or publicity — the desire to be made publicly recognizable) and exhibits the ones it considers off-beat enough for public display, in the modern day equivalent of a freak show.
Media is more easily commodified when it assumes rigid forms. When a "package" exists, it's relatively easy — and cost-effective — to replicate it again and again with little effort or creativity. And when commercial broadcast media defines what is "legitimate", the imagination of the people decays, their capacity to create is harder to draw upon, their tolerance for experimentation and "amateurism" diminishes. Illegitimate
Theater, like other patterns in this language, has unsavory manifestations as well: burning a cross in the yard of an African-American or other ethnic minority, militaristic parades and rallies, public intimidates. Since "performance" likely predates language, its effects on people can be deep; it can unlock hate as well as love, anger as well as reason and compassion. Theater, whether legitimate or not, can be driven by emotion and therefore less analytic than many other patterns in this language. Illegitimate
Theater blurs or even negates the line between spectators and performers. In its extreme version everybody, all the time, is an actor. And "actors" in public performances can also be "actors" in social life, actors who help make things happen — for good or for ill. Although our life "in public" is a series of performances, our roles are often construed as "bit parts." But every moment is a "teachable moment;" every public appearance is an opportunity to do something new and to experience something new. Thus anybody, at least in theory, can practice the craft of illegitimate theater. The "performances" that come from this practice can be simple or elaborate, impromptu or painstakingly rehearsed. The point is to cause ripples in the everyday stream of life.
Illegitimate theater, like is predecessors "legitimate" or otherwise, can be used to provoke emotional reactions, discussion or reflection. Practiced successfully and in a great number of venues, illegitimate theater could help foster positive social change and increased democratization of culture.
Illegitimate theater represents a intriguing set of possibilities for interactions between people that can lead to social change. Performance as a deeply human phenomenon can be explored by audience and performers alike in our quest for a better world.
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Theater, viewing and participating in performances, is an ancient yet vital cultural force. Theater — particularly its "illegitimate" forms — can punctuate the ordinary and evoke new and unexpected experiences. Anybody can practice Illegitimate Theater that causes ripples in the everyday stream of life. It can be used to provoke emotional reactions, discussion or reflection. It can even help foster social change and the democratization of culture.
Communities face a wide variety of challenges in areas of health, education, economic development, sustainable environments, and social order. But regardless of the difficulty of these challenges, a necessary condition for addressing them is for communities to find ways for members to work together. Too often, community members work at cross purposes and fail to develop what Jane Addams (1912, Nov. 2) called "the capacity for affectionate interpretation," resulting in what John Dewey (1927) called "the eclipse of the public." Community inquiry is what Addams and Dewey called their theory and practice for reshaping communities and, thus, society at large.
The challenges for constructive communities are as old as humanity and there will never be an absolute or universal solution to them. One reason is that every member of a community has unique experiences in life and thus unique perspectives, beliefs, and values. This diversity can be a source of strength within communities, but it can also lead to frustration, disappointment, conflict, and even violence. Diverse institutions have been created to address community challenges, including public libraries, public schooling, procedures for democratic governance, and venues for free expression. Often, however, these institutions are reduced from their idealized conception. With community inquiry, diversity becomes a resource and institutions are knit together productively.
As Jane Addams pointed out in founding Chicago's Hull-House, the first settlement house in the U.S. (Addams, 1912), and Dewey examined through the creation of the University of Chicago Laboratory Schools, democracy has been more realized in its political than its social expression. That is, even when formal procedures are established and maintained, meaningful participation is by no means guaranteed. For example, a public library might offer a large collection of books available at no charge to members of the community, but meaningful use of those materials depends also on available public transportation, broad-scale development of literacy skills, and a social organization that makes people feel welcome. In this and many other examples, it is clear that the problem goes beyond institutions, structures, and procedures, requiring instead the means by which every member of the community comes into the process of authority.
Community inquiry provides a theoretical and action framework for people to come together to develop shared capacity and work on common problems in an experimental and critical manner. The word community signals support for collaborative activity and for creating knowledge that is connected to people's values, history, and lived experiences. Inquiry points to support for open-ended, democratic, participatory engagement.
Consider the case of East St. Louis. Its widely noted dissolution and destruction (Kozol, 1991) resulted from many factors, both internal and external. The integration of housing in neighboring cities had the perverse effect of East St. Louis losing most of its middle class and professional workers. Racism, both within and towards the city, was a key factor that led to its failure to get the resources it needed to maintain a vibrant community. Problems compounded as elements within the city began to pull in different directions, often serving their own ends at the expense of the larger community. For example, companies dumped hazardous waste and landlords allowed buildings to become dilapidated and dangerous. From a community inquiry perspective, East St. Louis exhibited a failure for democratic, participatory engagement and demonstrated little evidence of people within the city or larger entitiesstate and nationalcoming together with shared values and goals.
At the same time, East St. Louis has survived and in some aspects has developed the capacity to thrive. Community members have come together to address the severe problems they faced. Substantial assets, such as the talent and dedication of Katherine Dunham, have taken enduring form in her museums and international dance workshops for children (http://www.eslarp.uiuc.edu/kdunham/). The community collaborates with other organizations, such the University of Illinois; their joint East St. Louis Action Research Project (http://www.eslarp.uiuc.edu) has helped improve conditions in the city by setting up, for example, community technology centers, new housing, a light rail station, and a youth-driven community theater. At the same time, ESLARP has provided new opportunities for university students, staff, and faculty who have worked in the community.
A key element of the work in East St. Louis is that it reflects continuing inquiry by people who are invested in the community in a variety of ways. That is, successes to date have not come from outsiders dictating and delivering solutions, but by bringing together participants from diverse perspectives to work together. Moreover, this work, while it addresses very practical problems of jobs, environment, health, education, cultural preservation and enrichment, and so forth, does not stop there. Instead, local action becomes a means through which the residents and those outside learn more about the community and its possibilities. In that sense, inquiry is both action and understanding. The lesson from East St. Louis, and similar communities, is that the process of community inquiry is ultimately of greater importance than the solving a specific problem.
We see many additional examples around the world of the power of community inquiry. In the domain of community development and learning, for example, a National Science Foundation study carried out in rural villages around Bangladesh related the finding that material from well-worn saris supplied a filtering material that worked better in reducing cholera than the nylon mesh that microbiologists had developed (Recer, 2003). In Reggio Emilia, Italy, with few of the resources found in affluent and advanced communities, families and teachers developed an innovative approach to education, now heralded throughout the world, that recognizes the potential of all children to learn and grow in relation with others, through the hundred languages of doing, being, reflecting, and knowing (http://www.reggioalliance.org). Community inquiry can also be manifested in the development of information and communication technology. See, for example, the culturally situated design tools developed collaboratively between Renssalear Polytechnic Institute and its community partners (http://www.rpi.edu/~eglash/csdt.html) and the Community Inquiry Laboratory software created collectively by the University of Illinois and its partners around the world, who come from all walks of life (http://ilabs.inquiry.uiuc.edu).
Therefore: When a community faces some problem, think of it not simply as something to be fixed but rather as an opportunity for the community to come together, to build capacity, and to learn about itself and its situation in a manner that can be joyful and intellectually stimulating. Recognize that every member of the community has knowledge that may be critical to solving that problem but can be discovered only if that individual has a voice and a say in what the community does. Recognize also that most problems are not solvable in one step and even when they are, may recur in the future. Thus, it is critical for the community to not only fix its problems but to become an organism capable of further inquiry. The communitys knowledge about how to deal with challenges is not in fixed procedures but rather in the capacity to learn through ongoing action, or what Dewey called experimental knowing.
We have created a diagram to represent this cycle of ongoing community inquiry (see below): a spiral of asking questions, investigating solutions, creating new knowledge as we gather information, discussing our discoveries and experiences, and reflecting on our new-found understanding.
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Communities face challenges in areas of health, education, economic development, sustainable environments, and social order. But regardless of the difficulty of these challenges, a necessary condition for addressing them is for communities to find ways for members to work together. Community Inquiry provides a theoretical and action framework for people to develop shared capacity and work on common problems in an experimental and critical manner.
People often don't have access to places in their neighborhoods that are outside their home or workplace. People need places where they can feel at home and hang out for extended periods without the need to spend lots of money. Unfortunately there is a scarcity of what Ray Oldenburg calls "great good places" that are convenient and welcoming. In many regions of the world people have forgotten how to "hang out" with friends, a lost art that refreshes the spirit and — sometimes — leads to social action as well.
This pattern is applicable to any place where people live. Whether a community is rich or poor, it needs "third places" where people comfortably congregate.
"The right of free assembly is the most natural privilege of man." Alexis de Tocqueville (1963)
This pattern makes the case that probably shouldn't even need to be made; that people need the physical presence of others and that virtual spaces however important and vibrant they can be, have not made physical meeting places obsolete.
Although situations are different in different locations, the fact remains that communities need what sociologist Ray Oldenburg calls a "great good place" or "third" place which is a physical location, more-or-less public place, where people can "hang out" and talk about whatever they need to talk about. Unfortunately these locations are threatened in many places. Many factors can contribute to the decline in great good places. Some neighborhoods may be dangerour or have a mistrusting atmosphere. Some may be too economically disadvantaged to be able to afford a safe place with a roof overhead. Moreover in the era of television and the car, the art of spending time around people that might be strangers may be dying. Other locations may have such high rents that it becomes necessary to cycle customers quickly to increase the "efficiency" of the cafe.
Oldenburg discusses many instances of the role of the "great good place" in history. These include German beer gardens in the US in the early 1990s, Viennese coffee shopts, French cafe society and the like. It also discusses the fascinating role of taverns etc. in the development of the journalism, the media, business practices, and social change — including the American revolution against the British. Oldenburg quotes Sam Warner (1968) who states that the informal tavern groups "provided the underlying fabric of the town, and when the Revolution began made it possible to gather militia companies quickly, to form effective committees of correspondence and of inspection, and to organize and to manage mass town meetings."
Bradie Derrenger makes the important point that the "great good place" might not always be a traditional coffee or donut shop. From the seat that he takes every day while waiting for the ferry that takes him to work he can engage with people he sees every day and with those who may be crossing Puget Sound for the first time. And if and when other people started congregating there it might just happen that others would also do so.
Interestingly it may be the case that communities with more "third places" are more politically and economically active. Whether this is always the case, a "third place" often contributes to a community's "social capital" which, as Robert Putnam has shown generally provides a wide range of benefits, including economic.
Communities need to ensure that "third places," which are neither the home nor the workplace exist where anybody in the community is free to go and stay for as long as they want. These places can be cafes, plazas, community centers or simply places with chairs or benches. These locations can be privately owned but their de facto policies must support the needs of the community for them to serve as genuine third places.
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Around the world people have forgotten how to "hang out" with friends, a lost art that refreshes the spirit and sometimes leads to social action as well. People need places other than their home or workplace where they feel comfortable without spending much money. They can be cafes, plazas, community centers or simply places with chairs or benches. They can be privately owned but they must support community needs for them to serve as Great Good Places.
In the modern Information and Communication Age, people no longer have time to think. Creative thinking is a human activity essential for self-realization, and for providing sustainable solutions to the myriad problems of our ever more complex global society. Three main factors prevent Thinking Communities from developing: lack of suitable locations for "semi-solitary" deep thought, lack of affordable communications infrastructure for such communities to develop, and too many social, professional and financial constraints preventing people from breaking out regularly for a sufficient period of time.
This pattern supports creative individuals and small groups with a pressing need for finding the time and concentration to work on a major project, but who lack access to locations, and are inhibited by many personal constraints. The pattern helps them to connect with individuals and organizations interested in providing affordable thinking facilities, and then to design and build their Thinking Communities. These communities allow their members to concentrate deeply, while also to meet peers who are working on their own projects. This semi-solitary mix of deep thought and social interaction should significantly increase individual and societal creative thinking capacity.
Thinking, resulting in new knowledge, is an essential human activity. Most related community research has focused on knowledge management and knowledge construction communities, often in an organizational or educational setting. For example, a typical corporate knowledge management community acts as a custodian for a Knowledge Domain, nurturing the sharing and creation of practices and knowledge that is key to the achievement of both company and personal objectives (Von Krogh et al., 2001). Similarly, an educational knowledge building community is a group of learners committed to advancing the group's knowledge of some shared problem through collaboration knowledge (Chai and Khine, 2006). However, when shifting from such an institutional to a more individual-oriented type of knowledge community, not much is known. In such a community, not organizational goals but individual thinking requirements, preferences, strengths, and weaknesses predominate. The resulting communities have much more of an emergent nature, and can be realized in a wide variety of forms. Thinking Communities, even more so than other communities, cannot be fully designed in every detail. Instead, developers should provide the right conditions and just enough guidance for such communities to get started, then let them evolve (Preece, 2000). A Thinking Community pattern can help outline such conditions and guidelines, while leaving each community enough freedom to develop its own unique values, norms, structures, and processes.
Thinking Communities require the right physical locations for individuals to reflect deeply by themselves, while also being able to interact on their thoughts with peers. They need an electronic communications infrastructure to organize and coordinate their community and communicate between locations. Social, professional, and financial constraints need to be minimized.
With location, communication, and personal constraints satisfied, Thinking Communities should start to be established and grow. A great variety of communities, ranging from loosely connected, semi-solitary individuals to large groups intensely focusing on solving a joint problem, will develop. Thinking Communities could thus become catalysts of creative thinking processes urgently needed to deal with some of the many pressing problems facing our globalizing world.
Thinking Communities can manifest themselves in numerous forms. Each of the dimensions identified in the pattern can have many possible values. The pattern acts as an analytical lens to help identify successful combinations of values, and possibly new types of Thinking Communities. To give some idea of the breadth and depth of Thinking Communities, here are some of many possible examples:
- A researcher is totally overworked, overwhelmed by the continuous stress of teaching, the publication rat race, and projects. She decides to recharge by taking a two month sabbatical after a conference she attended on the other side of the world. Since semester is over, she can plan it in between two academic years. She looks up the country she is visiting in the ReCharge researchers community web site, and discovers a scenic location close to the conference site, in the middle of a National Park. They offer long-term accommodation, for low monthly rent rates. They also have Internet connections, provide meals, and have a common room where she can meet fellow researchers. After two months of deep thinking and discussions with colleagues who provide fresh angles on her research, since they are not in her field, she goes back home. She is full of fundamental, new ideas that will sustain her in the stressful years to come.
- Many people are inspired by the ways of living and thinking of indigenous peoples. However, it is often hard to establish relationships with such communities. A First Nation, however, hosts a simple hostel with a limited number of rooms on its domain, allowing thinkers to work on their projects, while inviting them for a selected set of meetings and activities with the local community. This offers visitors a low-intensity, non-intrusive opportunity to get a realistic sense of the values, problems, and strengths of these communities, much beyond the understanding provided by the usual, shallow touristic visit to a reservation arts center. Simultaneously, it offers these local communities an alternative source of income and access to a world of ideas and contacts provided by visitors sincerely interested in building bridges between cultures.
- Two countries go to war. Enlightened individuals from both sides want to discuss their differences in order to stop the madness, but discussions on an open electronic forum dedicated to the conflict inevitably derail into emotional rants and diatribes. Meetings in either country obviously do not work for political and security reasons. Forum members from another country, which has managed to successfully negotiate a peace agreement between its feuding factions in the recent past, invite a number of the most reasonable discussants to come to a resort in their country. A private foundation, sponsoring the discussion forum, pays most of the travel expenses. In the resort, the discussants gather in a number of group sessions, but also get ample opportunity to break out, go for walks, and have one-on-one discussions. Their meetings are structured by electronic meeting room software. Although in the short time frame available they cannot reach agreement on a Roadmap to Peace, they do agree on the most important issues to be worked out. In a closed electronic forum, supported by the same software, they continue their discussions upon return to their respective countries. The bonding and face to face meetings in a peaceful environment have created the conditions to start building a Thinking Community across political borders.
A finely meshed, worldwide network needs to be created of affordable locations where people can concentrate and work on their individual creative projects, while simultaneously being able to meet up with peers working on their own acts of creation. The Web will provide the communications infrastructure to develop the concepts of Thinking Communities and match supply and demand of Thinking Locations. Social, professional, and financial constraints need to be addressed by developing concrete guidelines and solution patterns.
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Creative thinking is essential for self-realization and for finding sustainable solutions to the problems of our complex global society. A worldwide network of Thinking Communities needs to be created that links affordable locations where people can concentrate and work on individual — as well as collective — creative projects. These would allow members to concentrate deeply, while allowing them to meet peers who are working on other projects.
The truth about stories is that's all we are. Thomas King (2003)
Stories are fundamental to being human. How do they change as languages and cultures evolve through different communication technologies? In the age of cyberspace we often feel alienated from genuine stories, ones that we live with every day, that tell us how to become decent human beings and live meaningful lives. Corporate media exploit story patterns that evolved to pass on ethical codes, and we are trapped into thinking about products instead of reflecting on our lives. Traditional myths explored dynamic relationships between humans and nature. How can stories to help us adapt to our quickly changing world?
This pattern addresses the concerns of organizations and individuals involved in: Education, Culture, Arts, Society, Mythology, Technology, Law, Philosophy, Humanities, Psychology, Science, Environmental Studies, Religion, Social & Political Science, and Activism.
One way or another we are living the stories planted in us early or along the way, or we are also living the stories we planted "knowingly or unknowingly" in ourselves. We live stories that either give our lives meaning or negate it with meaninglessness. If we change the stories we live by, quite possibly we change our lives. Ben Okri, Nigerian storyteller.
Patterns in stories tend to reflect the environments we live in and the communication media we use. Indigenous peoples evolved patterns in oral traditions that resonated with the voices of the land and reinforced memory and meaning. The invention of writing and the phonetic alphabet played with the way language and images could be displayed as texts. The advent of the printing press offered freedom to experiment with new narrative and poetic forms, as well as restraints, as texts and language became standardized. The structure of stories changed as they moved from the places they were told onto the printed page.
Today, can words again become "winged" as they fly through both time and space in new forms offered by electronic media? Speech is communal; it exists only as it is being shared. As stories shift and change in response to new environments and technologies, who has access and jurisdiction to manipulate them? Can these new mediums offer opportunities to engage our senses and help us reconnect to the natural world? Can this enriched experience help us reflect on the deeper messages that stories contain?
Stories are conduits or vehicles that mediate our inner and outer worlds. When we tell stories, we are connected to live events and internal dramas. Modern cultures utilize technology to record ideas or performances, and tend to value the analysis of texts, recordings, and other artifacts of expression. We cultivate methods of reflection that reinforce our capacity to respond, think, and explore symbolic messages, but our objectivity makes us feel removed or alienated from authentic experience. We often yearn for the mystery of stories to deepen our lives. Oral cultures are immersed in ritual and experience; the time, place, and context in which a story is told is crucial to its meaning. Myths, which convey symbolic messages, are also repositories or living encyclopedias of practical knowledge and wisdom gained from sustainable relationships to the natural world. Oral traditions resonate with mnemonic patterns, poetic rhythms, tones, and inflections of local landscapes.
Richard Louve points out that studies of the songs of birds and whales reveal many of the same laws of composition as those used by humans. New scientific methods have enabled humans to learn about the intricate patterns of human and animal communication, but have not given most children a deep or genuine experience of animals and the stories or songs grounded in the natural world. This results in what Love describes as the modern child's "hyper-intellectualized" perception of nature and other animals.
Technology gives us tools to analyze and preserve traditional stories, but also disrupts and alienates people from meaningful stories that connect them with sustainable patterns in the natural world. Modern myths are often caught up in the social, political, and economic systems that our new technologies have created. Those who control the stories, knowledge, and mediums of communication wield the power.
Marshall McLuhan explores the shadow side of technological and economic success by arguing that popular culture is a source for diagnosing the "collective trance" of industrial society. Ads are a new kind of storytelling; "a social ritual or magic that enhances us in our own eyes." Rolf Jensen says, "The highest-paid person in the first half of the next century will be the 'storyteller.' Many global companies are mainly storytellers, and the value of products depends on the story they tell." Advertisers proclaim freedom of choice as the foundation of the American way of life; however, they gloss over questions of power and control. McLuhan suggests that individuals break the hypnotic trance of the media through tough-minded evaluation that probes the collective myths of our industrial folklore.
Mythologist Joseph Campbell says, "not only have the old mythic notions of the nature of the cosmos gone to pieces, but also those of the origins of the history of mankind." He suggests, that to give meaning to life, the modern person cannot simply reproduce inherited patterns of thought or action, but must create their own stories. Since many people start with seeds provided by the media, how do they proceed?
Words and stories are active agents. Ernest Cassirer says that the "word," in early cosmologies, is the primary force from which being and doing originate. Likewise, the cause and effect of media and print "word magic" in modern cultures determines our political and economic systems, and can result in nationalism and colonialism. Traditional stories and myths that have evolved from oral, consensually shared standards and beliefs that value feeling and community interaction have come into conflict with technologies that value independence, analytical thought, and scientific or secular authority. Modern civilization is faced with a split between the head and the heart.
In the Greek myth of the phonetic alphabet, King Cadmus plants dragons' teeth (alphabetic symbols) that rise up as armed men. If the alphabet could have such effects, what is the effect of modern technologies? We face the problem of how to deal ethically with the power humans have manufactured through technology. Can we recover a sense of reverence for the word without fueling tribal or national myths that sew dragons teeth?
Thoreau anticipated these arguments in Walking, when he says, There are other letters for the child to learn than those which Cadmus invented. Rather than learning letters in dusty schools, Thoreau wanted students to learn from wilderness. For him, mythology came close to expressing the language of nature. He advocates a kind of tawny grammar that celebrates what is wild and free. Through this, he says, The highest that we can attain is not Knowledge, but Sympathy with Intelligence.
Perhaps McLuhan suggests a solution to our dilemma when he says, two cultures or technologies can, like astronomical galaxies, pass through one another without collision; but not without change of configuration. Are we ready for a transformation of this magnitude? Can we connect traditional stories and myths with new technologies in ways that dont hypnotize us into a trance, but actually engage us more completely with community and the natural world?
Storytelling, an ancient art, needs to be rediscovered and updated. Stories help humankind to understand, reinterpret, and reframe the meanings that under-gird their existence. Can we use new communications technologies to weave together words and images, scientific information and poetic inspiration, and incorporate multiple voices (including the larger community of plants, animals, birds, and elemental forces) to tell multi-faceted stories of our earth communities? Can stories help us to weave together the communications and global challenges that face us as we learn to live co-creatively with each other and the natural world?
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The ancient art of storytelling needs to be rediscovered and updated. Stories help humankind to understand and reframe the meanings that undergird their existence. We can use new technologies to weave words and images, scientific information and poetic inspiration, and incorporate multiple voices to tell multi-faceted stories of our earth communities. As Thomas King tells us, The truth about stories is that’s all we are.
Repression and other forms of injustice and other social ills are often overlooked, dismissed in a cursory way, or deemed to be inevitable and immutable. Even when these problems are acknowledged, resistance to them is shallow, erratic, uncoordinated and ineffectual. Although art can be used to deliver a message of inspiration and information for the disempowered, it is often irrelevant; it can be a tool of the powerful and a diversion of the wealthy. In many cases, a distracting and ubiquitous corporate media has replaced the tradition of people and communities telling their own stories.
People and societies around the world have over the years developed their own versions of hell on earth that some subset of its inhabitants is obliged to endure. These regions exist within all societies, but vary in size and in magnitude of abuse ranging from neglect to active repression.
Artists occupy a unique role in society. Through a diversity of approaches, they explore new terrains that words alone are incapable of describing. Art can address issues, help solve problems and even serve as a "public psychiatrist" that surfaces social anxieties. Art speaks to places that other languages can't and affects consciousness on a level that we don't understand and can't map. Some, but not all, artists work for social and environmental justice. Notably artists can explore ideas of personal or societal importance or they can operate within a world circumscribed by religious authorities, corporations or the art-buying public, a decidedly privileged class economically.
The "world" that "resistance" strives to understand and confront provides an exhaustible fount of inspiration for artists professionals and non-professionals alike. The media through which messages and stories can be conveyed includes T-shirts (indeed, wearing the wrong t-shirt is an invitation to harassment, fines, and imprisonment in my regions and countries around the world) and comics and zines, opera, ballet, graffiti, murals, sculpture, film, film or many other approaches. Art can be immersive and engaging; it can help build community and involve the "audience" in rituals or processions. Art can be an invidual or collective effort, big or small, public or anonymous, clandestine and furtive, In can be created by children or by people or emotionally disturbed. The art of homeless people, refugees, or incarcerated people is likely to present a view of the world that the rest of us may not see.
Resistance art brings hidden knowledge out of the shadows. The historic roots of contemporary experience, a common theme of Chicano murals, such as those created by Los Cybrids collective, in Los Angeles and other southwestern cities in the US explore themes of identity and hybridity. Another approach is to present the reality of a situation in a documentary style, such as Walker Evans' sparse, unadorned depression era photographs of the rural poor. Another approach is exemplified by George Grosz's grotesque and piercing caricatures of militarists and war-profiteers, or Hitler garbed in a bearskin.
In the 1980s, Artists of the World Against Apartheid based in France issued a broad appeal to artists around the world to contribute anti-apartheid works of art. Ernest Pignon-Ernest of France and Antonio Saura of Spain worked unselfishly for two years to make it happen. A major exhibition was mounted in late 1983 at the Fondation Nationale des Arts Graphiques et Plastiques in Paris. Since the organizers had stipulated in advance that the art would be held in trust and given to the people of South Africa on the occasion of "the first free and democratic government by universal suffrage" as the basis of an anti-apartheid museum, the collection was moved to South Africa at the request of president Nelson Mandela.
A similar event took place in the U.S. two decades later. With the invasion of Iraq looming, first lady Laura Bush, picked an inopportune time to invite poet Sam Hamill to a special White House event, "Poetry and the American Voice," which was to celebrate the works of Emily Dickinson, Walt Whitman and Langston Hughes. Instead of being seduced by to the allure of power and prestige, Hamill refused Bush's invitation. Instead he emailed several friends asking them for poems on the theme of war which would be bound and presented to Bush. This ignited a poetic firestorm that claimed no national border. Inspired by Hamill's defiance, a web site (http://www.poetsagainstthewar.org) was established that provided a platform for poets around the world to express their feelings related to the impending war. The site proved immediately and enormously popular at its peak it was averaging several new poems a minute. Now the site has over 20,000 poems online including works by Adrienne Rich, W.S. Merwin. and Lawrence Ferlinghetti, and spotlights several poems per week. The project ultimately published two volumes of poetry and an excellent documentary film, "Poets in Wartime," was inspired by the effort. Moreover, the work engendered a non-profit organization, "Poets Against War", was formed with the simple yet direct mission statement: "Poets Against War continues the tradition of socially engaged poetry by creating venues for poetry as a voice against war, tyranny and oppression."
This episode (Poets Against War) raises the general question of the role of occupational groups and whether there is an implicit or explicit obligation to help deter aggression and war. A short list of such candidates would include teachers, religious leaders, engineers, journalists, farmers, and doctors and nurses and other caregivers. A longer list would include almost everybody for very few people in the world actually want to be within war's lethal compass, as either participant or as innocent bystander.
Another fascinating example, is the beehive design collective, an amazing anarchic and itinerant design collective that, although home-based in Vermont, travels around the world to create region-specific murals. Members often work with indigenous or other people to develop murals that capture the unique circumstances of the people who live there. The murals they develop grow organically; containing a variety of elements sinuously weaving indigenous plans and animals, historic referents, and symbols of corporate and colonial domination, with images of fanciful and realistic resistance.
Resistance art has many audiences. In the anti-apartheid movement, for example, the audience would obviously include the victims of apartheid and the supporters of their struggle. It would also include the people who believe themselves neutral of hadn't thought about apartheid from a moral standpoint and people who were actively promulgating it: politicians, policemen, the media, and business spokespeople who benefited from the cheap labor provided by the marginalized victims. Beyond that, the audience extended to the rest of the world. Many people outside of South Africa worked on anti-apartheid campaigns. Gill Scott-Heron's anti-apartheid anthem, "Johannesburg," was played on the radio in US cities, where its uncomfortable references to big segregated cities in the US like New York and Philadelphia showed that South Africa was not the only country in the world where prejudice and racism flourished.
From Goya and Picasso to Johannesburg's T-shirt artists of and anonymous graffiti artists around the world, resistance artists, generally acting on their own have portrayed the horrors of war or other abominations. Activists in Seattle, hoping to help cultivate a supportive community network for resistance artists have convened an Arts of Resistance conference for the past two years. Through workshops, presentations, videos, and, most importantly, through face-to-face dialogue and debate, the idea that art can be socially transformative became more widely recognized and more thoughtfully practiced.
People ultimately also need to be reminded of two things that they are not impotent and disconnected spectators but active and engaged participants in the ongoing vibrant fabric of life. Art, therefore, can tell the story of the ongoing struggle while suggesting ways for people to take part. It can also sketch out, in possibly indistinct and uncertain terms, a future that may exist, after successful struggles, where children, and their children, and their children's children do not experience the daily injury of living in an unjust and unhealthy world.
Anglican Bishop Desmond Tutu, a longtime foe of apartheid, notes that when resistance art is successful, "People come to the forceful realization that they are not entirely the impotent playthings of powerful forces." According to Tutu, resistance art, whether it's a play, song or T-shirt represents, "a proud defiance of the hostile forces that would demean and dehumanize."
Art can convey beauty, love and joy. It can also convey justice, fairness, dignity and resistance. Engaging in art can hone creativity by encouraging exploration within a plastic medium. The future itself is a plastic medium and we will never know how malleable it is if we don't explore it. Resistance art can be a seed that helps people understand their situation and how they might work to improve it.
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Repression and other forms of injustice and other social ills are often overlooked, or seen as inevitable. Art can be used to deliver a message of inspiration and information for the disempowered. Art can convey beauty, love and joy. It can also convey justice, fairness, dignity and resistance. The future itself is a plastic medium, a canvas that we all help paint. Arts of Resistance can be seeds that helps people understand their situation and how they might work to improve it.
Collaboration toward a shared goal is not always an uplifting experience; sometimes the problem is that there always seem to be problems. People can become discouraged in their work toward some common good. They suffer a dissonance between, on one hand, their enthusiasm for an uplifting cause and, on the other, the gritty reality of bringing it about. What seems at the outset to be a life-enhancing enterprise can produce frustration, burnout and turnover of group members.
To pursue a shared goal is to seek a positive impact on the world: what David Cooperrider (1990) describes as a heliotropic movement, toward the light of a positive image of the future. As long as the group visualizes the positive contribution that its work will make, it will approach its work with optimism and hope. If pursuing the goal appears as the remediation of a deficit rather than movement toward a positive image, over time a focus on the negative will emerge.
Conflict can affect a group of people positively or negatively; it can be functional or dysfunctional. Some level of conflict can lead to creativity, responsiveness to change, and learning from experience. Conflict becomes dysfunctional when it produces feelings of hostility, interferes with honest communication, and distracts from the shared goal. People become frustrated when conflict prevents them from achieving what they want to achieve. They may react through aggression, compromise or avoidance; each of these makes the situation worse than it was. The result is a diversion of the groups attention to perceived problems with the collective enterprise: a language of deficit in which not merely the shared goal, but the group itself becomes a problem to be solved.
Geoffrey Bellman writes of the commitment, passion, and aspiration for a larger life (2000, p. 68) which energize people who seek to change the world for the better. If we can see the beauty in our collaborations, we can release the creativity that comes from a compelling vision of a future worth working for.
Human beings, the groups and organizations we work in, and the world we inhabit all contain the potential for this larger life. Through consistent attention to what is alive, and to what can be alive in the future, we can become more alive. The belief that that people are good and that they respond positively to being treated accordingly is well-grounded in research on the Pygmalion effect (Cooperrider, 1990). We respond to positive images of ourselves by regarding others more positively: by noticing their successes, remembering their strengths, and seeing challenges from a positive aspect.
An appreciative approach adopts a fourfold cycle of discovery, dreaming, design and destiny (Cooperrider & Whitney, 1999). It starts not by identifying a need or deficit, but by discovering the best of the current situation. It dreams or envisions what a better future might be, rather than analyzing what caused the deficit. In place of planning how to redress a deficit, it collectively constructs a design for a better future. Instead of acting to resolve a problem, this approach enacts a better future as its destiny.
To enact a better future suggests that a life-affirming end is a natural outcome of life-affirming means; we aspire to larger life in the world through larger life in ourselves and in our collaborations. If we learn to be drawn together by a positive image of each other, our collective effort enhances the potential for creative, fresh human action toward a life-enhancing purpose (Srivastva & Barrett, in Srivastva & Cooperrider, 1990, p. 386).
This can succeed if we continually revise our expectations of what we can achieve: to open new possibilities for ourselves, for those we collaborate with, and for the world we hope to improve. This requires that we continually learn by developing and revising the norms, strategies and assumptions which specify what work gets done and what work is important to do (Dixon, 1999, p. 48). We need to maintain a dialogue, with ourselves and others, about our individual and shared assumptions.
To better understand the value of others, we must suspend our own assumptions. People are seldom malicious or idiotic, but they often work from different assumptions; once we can understand these assumptions we can appreciate their value. For this reason, appreciating differences is critical to collaboration. Once we appreciate others concerns (Spinosa et al., 1997), we can embark on a dialogue about how to work together.
Appreciative collaboration assumes that differences are valuable, and focuses attention on what is positive in any situation; in place of a vocabulary of deficit, it offers a forward-looking language of hope. Combined with a clear shared vision, appreciative collaboration allows us to achieve life-affirming goals through life-affirming means.
Positive images of the future lead to positive actions. Consistently build positive expectations for the future on the basis of positive attributions to what has been achieved in the past. Constantly learn the value of others, and be prepared to change cherished assumptions if they undermine the larger life of the group.
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People working toward some common good can become discouraged when they experience the gritty reality of bringing it about. When the group visualizes the positive contribution that its work will make, it will approach its work with optimism and hope. Appreciative Collaboration encourages us to see the beauty in our collaborations, so we can release the creativity that comes from a compelling vision of a future worth working for.
There are millions of organizations and other institutions that are responsible for important decisions and policy development on behalf of the public trust. There are also organizations and other institutions that violate the public trust or who otherwise wield illegitimate power. Unfortunately these two types often overlap. Some wield enormous power while some are impotent and irrelevant. At any rate, both types must be monitored closely — persistently and non-superficially — to encourage them to exert their powers appropriately. Moreover, both of these groups (and, indeed, all of us) are faced with millions (basically uncountable) of problems (and problems in the making) within the environment that are not well understood within a useful framework. The institutions that civil society establishes are often too diffuse or too narrow to face these problems effectively, while many seem to be "reinventing the wheel." Institutions of government and business can be too powerful or politically beholden to perform their duties responsibly; they can also be conceptually or administratively misaligned with their mission for many reasons.
There are many sets of problems / situations / contexts that can be addressed with the same pattern. "Institutions" in the sense of people who are organized around certain goals in a persistent way are ubiquitous.
The world of mirrors — and, hence, any discussion of them in a metaphorical way — leads to reflections and reflections of reflections and reflections of reflections of reflections and so on. So be it.
Mirrors reflect, but not perfectly. At the very least they reverse the image that they're reflecting. We're only using mirrors, however, as a metaphor for reflection or replication.
Due to the size and complexity of most of these mirroring endeavors, formal or informal organizations are established to tackle the job. For many reasons organizations that mirror to some degree the area within the overall environment that they are focused on are likely to have more success than those who don't. An institution is society's attempt to make a "machine" whose output is of a desired type. It reflects (however imperfectly) the desires of its creators and maintainers and its "products" are "mirror images" of each other (or at least have the same "family resemblance.") "Mirror Institutions" are those institutions that reflect or reflect upon other institutions or other realities. As such this pattern covers a very wide range. To cover this wide range we've identified four important facets: the reflective mirror institution, the critical mirror institution, the alternative / generative mirror institution, and the flattering mirror institution. The boundaries between these different institutional mirror types aren't clear. It's hard in other words, to know where one ends and another begins. And the "mirror" itself (at least the metaphorical mirror we're talking about) is a constructed object whose object is implicitly or explicitly what it's set up to be and what it has come to be (while realizing, of course, that the characteristics are not completely knowable either but are subject to interpretation themselves — via another mirror. And, like all mirrors, the reflections can be seen from many angles.
The reflective mirror institution is used to help us understand without bias some aspects of the "real world." This institution needs to reflect the most salient aspects of its object back to the people who need to understand the object. Scientists ideally employ this type of mirror institution when they endeavor to understand the complex and intricate relationships within the physical environment.
James A. Wilson in his essay "Matching Social and Ecological Systems in Complex Ocean Fisheries" states that the "mismatch of ecological and management scale makes it difficult to address the fine-scale aspects of ocean ecosystems, and leads to fishing rights and strategies that tend to erode the underlying structure of populations and the system itself." He goes on to state that "This is likely to be achieved by multiscale institutions whose organization mirrors the spatial organization of the ecosystem and whose communications occur through a polycentric network."
Problems can result arise if people believe that they're using a reflection that has perfect fidelity or if they're work is overly influenced by ideology.
The critical mirror institution is used to uncover, analyze and expose the failings of another institution. Using the explicit philosophy, goals, and practices of the institution itself to show the stark contrast between their often noble rhetoric and what they're actually doing is a common approach. In the U.S., for example, the OMB Watch organization performs a "watchdog" function on the Office of Management and Budget (OMB) within the U.S. government. The Bretton Woods project uses the decisions made by global economic powers at the 19__ Bretton Woods meeting as the basis for its critique of international capital and its institutional handmaidens.
The alternative / generative mirror institution is used to develop — and propagate — alternatives to existing institutions. Governments in exile are one use of this pattern, as are community banks, whether they're in Venezuela or other countries. Sometimes the alternative is then mirrored into multiple versions of itself. Federated institutions that are loosely connected to each other and more-or-less the same type of species represent a good way to develop strength globally while maintaining local control. This was used in the realm of independent, non-commercial communication, including community access television, community networks and the Independent Media Centers movements.
The World Social Forum is a blend of two mirror institution facets: the critical and the alternative / generative; it established itself as a counter-forum to the World Economic Forum which promotes alternative ideas and visions. The World Social Forum is also being mirrored in the form of regional and thematic forums.
The flattering mirror institution is an existing mirror, sometimes called an infinite mirror that is self-referential, often self-indulgent, self-deceiving, self-reinforcing, and sycophantic. That is, to a large degree, the state of the media today, endlessly reflecting upon itself like an echo chamber.
[Note that media reflects society — however incompletely — back to itself. As Israeli journalist Gideon Levy of the Haaretz newspaper pointed out "The Palestinians know what the Israelis are doing."]
There are several ways by which to look at any mirror institutions — especially when setting one up.
The object or environment — What is standing in front of the mirror?
The reflection — What is being reflected?
Reflecting on the reflection — What are you seeing in the reflection? Should you be looking for other things?
The audience — Who is (or should be) peering into the mirror institution?
Does relying exclusively on "reflections" mean that wholly new institutions can't be devised? Although brand new institutions can be created through a series of partial changes, this argues for more of an intelligent (or pragmatic, efficient or opportunistic) design, rather than creation. Decentralized Intelligence Agency?!
Challenges: Adopting and realigning when necessary. Maintaining a network with like-minded organizations — mirror or not. The "mirror" approach is ecological — but who's doing the "higher level" work?? Governments exists to (or should exist to) sort out (or at least assist with the sorting out process) issues related to rights and responsibilities — who (and what) can do something and who (and what) should do something. Associated with this is the task of developing (and exercising) incentives to encourage people to do the right thing and penalties for those who don't.
This is a pattern for conscious adaptation. A pattern transformation, since culture is propagated by its institutions. This is very much an analogy to basic evolutionary theory. Mirroring implies copying -- but generally copying with changes made to one or more aspects of the original in the process. Liberating Voices is a mirror of A Pattern Language.
Although this pattern is may be a bit heavy on abstractions, we believe that the institution-as-mirror metaphor can be very useful primarily due to the questions it brings to the surface. The German playwright, Bertolt Brecht told us that "art is not a mirror held up to reality, but a hammer with which to shape it." The mirror institutions that we create must also to a large degree be put to the same purpose.
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Organizations and other institutions that are responsible for important decisions and policy development can violate the public trust or otherwise wield illegitimate power. Mirror Institutions are those institutions that reflect or reflect upon other institutions or other realities. Mirroring implies copying — but generally copying with changes made to one or more aspects of the original in the process.
When countries are antagonistic to each and have ceased diplomatic relations or are otherwise cultivating other distrustful or threatening attitudes the countries may drift into war either by accident or by design. When this antagonism becomes institutionalized, through policy, public attitude, or propaganda, warfare or other violence becomes a natural consequence. The unique powers of individual people to help overcome these rifts by calming tempers, building ties, promoting reason and dialogue, or healing wounds is rarely acknowledged or promoted. Sometimes, as a matter of fact, the efforts of the rare person who strives to develop personal connections with "the enemy" is demonized by people on both "sides."
This pattern can be applied whenever a country's stance towards another country is antithetical to the needs and values of civil society. This can happen before, during, or after a war or other period of hostility and mistrust.
The use of the concept of "citizen diplomacy" was apparently first applied when US citizens journeyed to the former Soviet Union in the 1980s and met with activists, educators, scientists, health professionals and "ordinary" citizens. These citizens — and their Soviet counterparts — did not want to accept the "inevitability"of war, either hot or cold, and sought to find common ground on which to build a more peaceful future for everybody. Citizen diplomacy offers the promise of (world?) peace by building on actual, hopeful and optimistic face-to-face encounters by citizens of the designated enemy states.
The idea for this pattern, like others in the language, arose in a specific historical context, namely in the late 1980's during the protracted "cold war" between the Warsaw Pact nations (most notably the Soviet Union) and the NATO countries (most notably the USA). Although the information reported here is based on experiences from that time, it is expected that this pattern will be applicable in a great variety of situations in which two (or more) states or other large groups are enemies. Several antagonistic dyads come to mind — India and Pakistan; Israel and the Arab States; the US and Cuba or Venezuela — and each situation contains its own unique opportunities and risks.
People who engage in projects along these lines certainly fit Richard Falk's description of a "citizen pilgrim" who is willing to go on a quixotic journey for a seemingly improbable goal.
Interestingly, especially in a pre-Internet era, many of the collaborative efforts (described in Citizen Diplomacy: Progress Report 1989: USSR) were related to the use of information and communication. Some of the projects include Children’s Art Exhibit and Book, US-USSR State Bridge Citizen Diplomacy, Moscow-DC Live Broadcast: Soviet Citizen’s Summit, Peace Lines: Computer Supported Net-working, US Kids to Siberian Computer Camp, Electronic Peace Mail Project, Video Conference: Doing Business with USSR, and World Civilization and Education Centers.
The collaborative projects themselves are subject to enormous challenges. Simply meeting with people from "the other side" presents great obstacles (including financial costs, legal restrictions on travel to — and within — the other country, privacy of communications, and access to people). Furthermore, any collaborative project, unless it is done clandestinely, will exist "at the pleasure" of the powers-that-be. In fact, one of the ultimate risks inherent in a project like this is that individuals being used or manipulated by the powers-that-be (such as the media, state power, think-tanks, political parties, or religious institutions) in ways that simply overwhelm the hopes and energy of the citizen-diplomat.
Since the unraveling of the Soviet Union in the early 1990's, the global situation as noted above has changed considerably. The rough parity of power (exemplified to some degree by the size of their nuclear weapon stockpiles) between the Warsaw Pact countries and the NATO countries and the promise of "Mutually Assured Destruction" (or MAD) helped prevent direct confrontation and led to numerous "proxy conflicts" which were sponsored in part by the combatant's respective superpower allies. The military parity has now largely dissolved and the arms race between the US and the USSR has given way to a one-sided arms race where the US appears now to be competing with the rest of the world; its military expenditures (including several new nuclear weapons) now amounts to nearly half of the world's military expenditures.
Finally it must be said that it's not obvious that collaborative projects like these will yield any long-lasting benefits. An interesting example is that when the US media entered the Soviet Union after Glasnost, they followed the routes that the citizen diplomats has established. While it's true that relations were finally normalized between the two countries, the citizen-diplomat may be well-advised that setbacks may outnumber the gains.
Establish contacts and develop collaborative projects between individual citizens and groups in countries or regions where relations are severely strained or non-existent.
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The unique powers of individuals to help overcome antagonism between nations by calming tempers, building ties, promoting reason and dialogue, or healing wounds is rarely acknowledged or promoted. Citizen Diplomacy offers the promise of peace by building on actual, hopeful and optimistic face-to-face encounters by citizens of the designated enemy states.