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“The intellect must not only desire surreptitious delights; it must become completely free and celebrate Saturnalia.” (Nietzsche 6)
2Theory-jamming suggests an array of eclectic methods, deployed in response to emerging conditions, using traditional patterns to generate innovative moves, seeking harmony and syncopation, transparent about purpose and power, aiming for demonstrable certainties while aware of their own provisional fragility. In this paper, theory-jamming is suggested as an antidote for the confusion and disarray that typifies communication theory.
3Communication theory as the means to conceptualise the transmission of information and the negotiation of meaning has never been a stable entity. Entrenched divisions between ‘administrative’ and ‘critical’ tendencies are played out within schools and emerging disciplines and across a range of scientific/humanist, quantitative/qualitative and political/cultural paradigms. “Of course, this is only the beginning of the mischief for there are many other polarities at play and a host of variations within polar contrasts” (Dervin, Shields and Song). This paper argues that the play of contending schools with little purchase on each other, or anything much, has turned meta-discourse about communication into an ontological spiral.
4Perhaps the only way to ride out this storm is to look towards communication practices that confront these issues and appreciate their theoretical underpinnings. From its roots in jazz and blues to its contemporary manifestations in rap and hip-hop and throughout the communication industries, the jam (or improvised reorganisation of traditional themes into new and striking patterns) confronts the ontological spiral in music, and life, by taking the flotsam flung out of the spiral to piece together the means to transcend the downward pull into the abyss.
5Many pretenders have a theory. Theory abounds: language theory, number theory, game theory, quantum theory, string theory, chaos theory, cyber-theory, queer theory, even conspiracy theory and, most poignantly, the putative theory of everything. But since Bertrand Russell’s unsustainable class of all classes, Gödel’s systemically unprovable propositions and Heisenberger’s uncertainty principle, the propensity for theories to fall into holes in themselves has been apparent. Nowhere is this more obvious than in communication theory where many schools contend without actually connecting to each other.
6From the 1930s, as the mass media formed, there have been administrative and critical tendencies at war in the communication arena. Some point to the origins of the split in the Institute of Social Research’s Radio Project where pragmatic sociologist, Paul Lazarsfeld broke with Frankfurt School critical theorist, Theodor Adorno over the quality of data. Lazarsfeld was keen to produce results while Adorno complained the data over-simplified the relationship between mass media and audiences (Rogers). From this split grew the twin disciplines of mass communication (quantitative, liberal, commercial and lost in its obsession with the measurement of minor media effects) and cultural/media studies (qualitative, post-Marxist, radical and lost in simulacra of their own devising). The complexity of interactions between these two disciplines, with the same subject matter but very different ways of thinking about it, is the foundation of the ontological black hole in communication theory.
7As the disciplines have spread out across universities, professional organizations and publishers, they have been used and abused for ideological, institutional and personal purposes. By the summer of 1983, the split was documented in a special issue of the Journal of Communication titled “Ferment in the Field”. Further, professional courses in journalism, public relations, marketing, advertising and media production have complex relations with both theoretical wings, which need the student numbers and are adept at constructing and defending new boundaries. The 90s saw any number ‘wars’: Journalism vs Cultural Studies, Cultural Studies vs Cultural Policy Studies, Cultural Studies vs Public Relations, Public Relations vs Journalism.
8More recently, the study of new communication technologies has led to a profusion of nascent, neo-disciplines shadowing, mimicking and reacting with old communication studies: “Internet studies; New media studies; Digital media studies; Digital arts and culture studies; Cyberculture studies; Critical cyberculture studies; Networked culture studies; Informatics; Information science; Information society studies; Contemporary media studies” (Silver & Massanari 1). As this shower of cyberstudies spirals by, it is further warped by the split between the hard science of communication infrastructure in engineering and information technology and what the liberal arts have to offer. The early, heroic attempt to bridge this gap by Claude Shannon and, particularly, Warren Weaver was met with disdain by both sides. Weaver’s philosophical interpretation of Shannon’s mathematics, accommodating the interests of technology and of human communication together, is a useful example of how disparate ideas can connect productively.
9But how does a communications scholar find such connections? How can we find purchase amongst this avalanche of ideas and agendas? Where can we get the traction to move beyond twentieth century Balkanisation of communications theory to embrace the whole? An answer came to me while watching the Discovery Channel. A documentary on apes showed them leaping from branch to branch, settling on a swaying platform of leaves, eating and preening, then leaping into the void until they make another landing, settling again… until the next leap. They are looking for what is viable and never come to ground. Why are we concerned to ground theory which can only prove its own impossibility while disregarding the certainty of what is viable for now?
10I carried this uneasy insight for almost five years, until I read Nietzsche on the methods of the pre-Platonic philosophers: “Two wanderers stand in a wild forest brook flowing over rocks; the one leaps across using the stones of the brook, moving to and fro ever further… The other stands there helplessly at each moment. At first he must construct the footing that can support his heavy steps; when this does not work, no god helps him across the brook. Is it only boundless rash flight across great spaces? Is it only greater acceleration? No, it is with flights of fantasy, in continuous leaps from possibility to possibility taken as certainties; an ingenious notion shows them to him, and he conjectures that there are formally demonstrable certainties” (Nietzsche 26).
11Nietzsche’s advice to take the leap is salutary but theory must be more than jumping from one good idea to the next. What guidance do the practices of communication offer? Considering new forms that have developed since the 1930s, as communication theory went into meltdown, the significance of the jam is unavoidable. While the jam session began as improvised jazz and blues music for practice, fellowship and fun, it quickly became the forum for exploring new kinds of music arising from the deconstruction of the old and experimentation with technical, and ontological, possibilities.
12The jam arose as a spin-off of the dance music circuit in the 1930s. After the main, professional show was over, small groups would gather together in all-night dives for informal, spontaneous sessions of unrehearsed improvisation, playing for their own pleasure, “in accordance with their own esthetic [sic] standards” (Cameron 177). But the jam is much more than having a go. The improvisation occurs on standard melodies: “Theoretically …certain introductions, cadenzas, clichés and ensemble obbligati assume traditional associations (as) ‘folkways’… that are rarely written down but rather learned from hearing (“head jobs”)” (Cameron 178-9).
13From this platform of tradition, the artist must “imagine in advance the pattern which unfolds… select a part in the pattern appropriate to the occasion, instrument and personal abilities (then) produce startlingly distinctive sound patterns (that) rationalise the impossible.” The jam is founded on its very impossibility: “the jazz aesthetic is basically a paradox… traditionalism and the radical originality are irreconcilable” (Cameron 181). So how do we escape from this paradox, the same paradox that catches all communication theorists between the demands of the past and the impossibility of the future? “Experimentation is mandatory and formal rules become suspect because they too quickly stereotype and ossify” (Cameron 181).
14The jam seems to work because it offers the possibility of the impossible made real by the act of communication. This play between the possible and the impossible, the rumbling engine of narrative, is the dynamo of the jam. Theory-jamming seeks to activate just such a dynamo. Rather than having a group of players on their instruments, the communication theorist has access a range of theoretical riffs and moves that can be orchestrated to respond to the question in focus, to latest developments, to contradictions or blank spaces within theoretical terrains. The theory-jammer works to their own standards, turning ideas learned from others (‘head jobs’) into their own distinctive patterns, still reliant on traditional melody, harmony and syncopation but now bent, twisted and reorganised into an entirely new story.
15The practice of following old pathways to new destinations has a long tradition in the West as eclecticism, a Graeco-Roman, particularly Alexandrian, philosophical tradition from the first century BC to the end of the classical period. Typified by Potamo who “encouraged his pupils instead to learn from a variety of masters”, eclecticism sought the best from each school, “all that teaches righteousness combined, the complete eclectic unity” (Kelley 578). By selecting the best, most reasonable, most useful elements from existing philosophical beliefs, polymaths such as Cicero sought the harmonious solution of particular problems. We see something similar to eclecticism in the East in the practices of ‘wild fox zen’ which teaches liberation from conceptual fixation (Heine).
16The 20th century’s most interesting eclectic was probably Walter Benjamin whose method owes something to both scientific Marxism and the Jewish Kabbalah. His hero was the rag-picker who had the cunning to create life from refuse and detritus. Benjamin’s greatest work, the unfinished Arcades Project, sought to create history from the same. It is a collection of photos, ephemera and transcriptions from books and newspapers (Benjamin). The particularity of eclecticism may be contrasted with the claim to universality of syncretism, the reconciliation of disparate or opposing beliefs by melding together various schools of thought into a new orthodoxy. Theory-jammers are not looking for a final solution but rather they seek what will work on this problem now, to come to a provisional solution, always aware that other, better, further solutions may be ahead.
17Elements of the jam are apparent in other contemporary forms of communication. For example bricolage, the practice from art, culture and information systems, involves tinkering elements together by trial and error, in ways not originally planned. Pastiche, from literature to the movies, mimics style while creating a new message. In theatre and TV comedy, improvisation has become a style in itself. Theory-jamming has direct connections with brainstorming, the practice that originated in the advertising industry to generate new ideas and solutions by kicking around possibilities. Against the hyper-administration of modern life, as the disintegration of grand theory immobilises thinkers, theory-jamming provides the means to think new thoughts.
18As a political activist and communications practitioner in Australia over the last thirty years, I have always been bemused by the human propensity to factionalise. Rather than getting bogged down by positions, I have sought to use administrative structures to explore critical ideas, to marshal critical approaches into administrative apparatus, to weld together critical and administrative formations in ways useful to both sides, bust most importantly, in ways useful to human society and a healthy environment. I've been accused of selling-out by the critical camp and of being unrealistic by the administrative side. My response is that we have much more to learn by listening and adapting than we do by self-satisfied stasis.
Five Theses on Theory-Jamming
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- Eclecticism requires Ethnography: the eclectic is the ethnographer loose in their own mind. “The free spirit surveys things, and now for the first time mundane existence appears to it worthy of contemplation…” (Nietzsche 6).
- Enculturation and Enumeration need each other: qualitative and quantitative research work best when they work off each other. “Beginners learned how to establish parallels, by means of the Game’s symbols, between a piece of classical music and the formula for some law of nature. Experts and Masters of the Game freely wove the initial theme into unlimited combinations.” (Hesse)
- Ephemera and Esoterica tell us the most: the back-story is the real story as we stumble on the greatest truths as if by accident. “…the mind’s deeper currents often need to be surprised by indirection, sometimes, indeed, by treachery and ruse, as when you steer away from a goal in order to reach it more directly…” (Jameson 71).
- Experimentation beyond Empiricism: more than testing our sense of our sense data of the world. Communication theory extends from infra-red to ultraviolet, from silent to ultrasonic, from absolute zero to complete heat, from the sub-atomic to the inter-galactic. “That is the true characteristic of the philosophical drive: wonderment at that which lies before everyone.” (Nietzsche 6).
- Extravagance and Exuberance: don’t stop until you’ve got enough. Theory-jamming opens the possibility for a unified theory of communication that starts, not with a false narrative certainty, but with the gaps in communication: the distance between what we know and what we say, between what we say and what we write, between what we write and what others read back, between what others say and what we hear.
