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

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Authentic self as fluent

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

• Behavioral therapy.
• Medication.
• Surgery.

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Authentic self as stuttered

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

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

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Identity is always relative

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

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

— Lorde (1984)

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A rejection of authenticity does not necessarily lead to determinism.

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

• How the meaning/cultural currency of feelings/emotions change over time.
• Emotions as shaped by cultural/political forces‍
• Representation of emotions in literature/film as revealing of the power structures at work.
• ‘Affect’ is used in different ways in different fields (neuroscience, psychology and literary/cultural studies).
• Sara Ahmed, Lauren Berlant and Sianne Ngai – critics for whom affects are crucially connected to structures of power (social/cultural/political); also interested in how affective states stretch our capacity to name them but haven’t cut loose from language and cognition.
• Sianne Ngai (Ugly Feelings), she’s interested in those feelings that are seen as unproductive/marginalised.

You have to see yourself in society to be a part of that society

Visual activism to confront and challenge societal preconceptions:

Look → Think → Act

Simi Linton (1998) in Claiming Disability: Knowledge and Identity quoted by Rosemarie Garland-Thomson:
 "We wield that white cane, or ride that wheelchair or limp that limp” … luxuriate in that stammer?

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The portrait invites us to stare, engrossed perhaps less with the “strangeness” of this woman’s disability and more with the strangeness of witnessing such dignity in a face that marks a life we have learned to imagine as unliveable and unworthy, as the kind of person we routinely detect in advance through medical technology and eliminate from our human community.

— Garland-Thomson (2009)

Flaunt the visible marks of disability. The relish with which disabled people can live their identity and present themselves to the starees.

My contribution to The Stammering Collective was a talk reflecting on my work carried out over the last 10 years in relation to public understanding and awareness of stammering.  I questioned how stammering is perceived and defined by the public, spoke about how we might change wider understanding of stammering, and how we might be able to move beyond popular narratives of “overcoming” stammering.

Media engagement has been part of my professional roles with the Irish Stammering Association, the Irish Association of Speech and Language Therapists and the International Communication Project. A consistent theme I have promoted in print media, online publications, and in radio and television interviews is that, essentially, it is ok to stammer. Furthermore, it need not be seen as a negative quality needing to be fixed and it should certainly not limit the possibilities for an individual. These messages need to be repeated.

As the talk was intended as a conversation starter, it did not have a neat conclusion. Public engagement will continue over the coming years. I look forward to seeing where the conversation leads to in 2032 and again in 2042. I would hope that the “overcoming” narrative has changed and that I am able to listen to many more stammering voices on my hologram device. I also hope that these stammering voices are talking about lots of interesting things beyond the topic of stammering.  

Our starting-point is again ‘something mechanical encrusted upon the living.’ Where did the comic come from in this case? It came from the fact that the living body became rigid, like a machine. Accordingly, it seemed to us that the living body ought to be the perfection of suppleness, the ever-alert activity of a principle always at work. But this activity would really belong to the soul rather than to the body. It would be the very flame of life, kindled within us by a higher principle and perceived through the body, as if through a glass. When we see only gracefulness and suppleness in the living body, it is because we disregard in it the elements of weight, of resistance, and, in a word, of matter; we forget its materiality and think only of its vitality, a vitality which we regard as derived from the very principle of intellectual and moral life, Let us suppose, however, that our attention is drawn to this material side of the body; that, so far from sharing in the lightness and subtlety of the principle with which it is animated, the body is no more in our eyes than a heavy and cumbersome vesture, a kind of irksome ballast which holds down to earth a soul eager to rise aloft. Then the body will become to the soul what, as we have just seen, the garment was to the body itself—inert matter dumped down upon living energy. The impression of the comic will be produced as soon as we have a clear apprehension of this putting the one on the other. And we shall experience it most strongly when we are shown the soul TANTALISED by the needs of the body: on the one hand, the moral personality with its intelligently varied energy, and, on the other, the stupidly monotonous body, perpetually obstructing everything with its machine-like obstinacy. The more paltry and uniformly repeated these claims of the body, the more striking will be the result. But that is only a matter of degree, and the general law of these phenomena may be formulated as follows: ANY INCIDENT IS COMIC THAT CALLS OUR ATTENTION TO THE PHYSICAL IN A PERSON WHEN IT IS THE MORAL SIDE THAT IS CONCERNED.

— Bergson (1912)

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Bergson’s theory that laughter functions as social correction

Laughter appears to stand in need of an echo, Listen to it carefully: it is not an articulate, clear, well-defined sound; it is something which would fain be prolonged by reverberating from one to another, something beginning with a crash, to continue in successive rumblings, like thunder in a mountain. Still, this reverberation cannot go on for ever. It can travel within as wide a circle as you please: the circle remains, none the less, a closed one. Our laughter is always the laughter of a group.

To understand laughter, we must put it back into its natural environment, which is society, and above all must we determine the utility of its function, which is a social one. Such, let us say at once, will be the leading idea of all our investigations. Laughter must answer to certain requirements of life in common. It must have a SOCIAL signification.

— Bergson (1912)

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In a public speaker, for instance, we find that gesture vies with speech. Jealous of the latter, gesture closely dogs the speaker's thought, demanding also to act as interpreter. Well and good; but then it must pledge itself to follow thought through all the phases of its development. An idea is something that grows, buds, blossoms and ripens from the beginning to the end of a speech. It never halts, never repeats itself. It must be changing every moment, for to cease to change would be to cease to live. Then let gesture display a like animation! Let it accept the fundamental law of life, which is the complete negation of repetition! But I find that a certain movement of head or arm, a movement always the same, seems to return at regular intervals. If I notice it and it succeeds in diverting my attention, if I wait for it to occur and it occurs when I expect it, then involuntarily I laugh. Why? Because I now have before me a machine that works automatically. This is no longer life, it is automatism established in life and imitating it. It belongs to the comic.

We begin, then, to become imitable only when we cease to be ourselves. I mean our gestures can only be imitated in their mechanical uniformity, and therefore exactly in what is alien to our living personality. To imitate any one is to bring out the element of automatism he has allowed to creep into his person. And as this is the very essence of the ludicrous, it is no wonder that imitation gives rise to laughter.

The gestures of a public speaker, no one of which is laughable by itself, excite laughter by their repetition.

— Bergson (1912)

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Alanka Zupančič’s The Odd One In: On Comedy (MIT Press, 2008)

• Zupančič argues Bergson misunderstood the primary thrust of his theory that we laugh when we recognize the mechanical encrusted upon the living.
• The missed revelation of Bergson’s theory is comedy’s unceasing vacillations between the living and the mechanical.

Mind your Ps and Qs is an English language expression meaning "mind your manners", "mind your language", "be on your best behaviour", "watch what you're doing".

• To our self.
• To others.
• How we talk about children who stutter.
• How children who stutter hear us talk about stuttering generally.

Action: helpful self talk to counter stereotypes.

• Gather evidence in real-life situations will lead to generating more balanced thoughts on the basis of their findings.
• People can identify helpful self-talk that will positively influence their emotional reaction and behaviour in a situation.
• Helpful self-talk can also be generated by reflecting on previous experiences that have gone well and what the person was saying to himself or herself at the time.

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For the Speech and Language Therapist

• Be aware of own thoughts, feelings and expectations around stuttering and our role as an SLT.
• Communication trumps fluency.

Action: helpful self talk.

• Handouts for teachers.
• Powerpoint for school presentation.
• Advice leaflet for parents (Generate discussion about what works in therapy  and helpful versus unhelpful advice).

Publication

The action of making 
something generally known.

— Oxford Dictionary

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

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

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Protest

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

— Oxford Dictionary

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

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

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

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

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

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

The speech-language pathologist is the professional who engages in clinical services, prevention, advocacy, education, administration, and research in the areas of communication and swallowing across the life span from infancy through geriatrics.

— The American Speech And Hearing Association (ASHA) (2007:1)

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Identity


• Etymological root refers to sameness but often seen as what makes me unique – who I am.
• Medical model/social model.
• Narrative Practice – viewed as “public and social achievement”.
• Co-constructed in “the trafficking of stories about our own and each other’s lives” White (2007, 182).

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The process of professional identity

• Individual process but co-constructed.
• Multiple identities.
• Fluid, dynamic.
• Therapeutic exchanges.
• Stories told and interpreted.
• Cultural Influences.

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How are identities constructed?

O’Dwyer and Leahy (2015)

• Postmodernist thinking – multiple identities are available to an individual at any given time.
• Narratives play a large role in how we construct and re-construct these identities for ourselves and for others.
• Narratives are how we make sense of our experiences and this meaning-making in turn leads to a sense of identity. Bruner (1986: 143) explained that ‘narrative structures organise and give meaning to experience’.  Riessman(2008: 8) states that ‘individuals and groups construct identities through storytelling’ and that these identities are fluid.

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SLTs – multiple identities*

• An individual speech and language therapist has multiple identities available to them at any time.
• More aware of some than others and how conscious/aware they are of any identity at a given time varies.
• Intrapersonal and interpersonal factors influence how these identities are negotiated and renegotiated.
• These identities are negotiated in their interaction with the people they see for therapy and their families/carers.
• “Through clinical interaction clients and clinicians negotiate who they are and the roles they play in the therapy story.” Simmons-Mackie and Damico (2011:44)
• If a particular identity gets validated through these interactions, it takes hold and is performed regularly, If not validated, gets renegotiated.

*O’Dwyer, M.  and Leahy, M.M. (2016). There is no cure for this:  An exploration of the professional identities of speech and language therapists’, Journal of Interactional Research in Communication Disorders, 2, 149-167.

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Who are speech and language therapists working with children and adults who stutter and their families?
 Possible identities: