Revolution Lullabye

May 28, 2009

Johnson-Eilola and Sebler, Plagiarism, Originality, Assemblage

Johnson-Eilola, Johndan and Stuart A. Selber. “Plagiarism, Originality, Assemblage.” Computers and Composition 24 (2007): 375-403.

Johnson-Eilola and Selber argue for a problem-solving view of writing as assemblage rather than a performance and product-oriented understanding of composing. They place the concept of assemblage in conversation with discussions of plagiarism and originality, both which would undervalue and even criminalize assemblage (remix, collage) writing. They show how practices of assemblage are common in other fields and contexts, like website design, architecture, blogging, and institutional and workplace writing. Writing as assemblage, a postmodern understanding of creativity, limits the ethical and legal panic over plagiarism and the sloppy, unnecessary paraphrasing and allows students to use all available resources (and acknowledge those sources) to make their argument and solve problems.

Quotable Quotes

“If we take away that hierarchy, we remove the impulse for students to lie about it. If a piece of the assemblage is valued primarily for its function rather than its place in a hierarcy, students are no longer pushed so hard to hide the citations for their sources” (400). – students are afraid to have too much of their text in quotes or cited because then it doesn’t look like their original thought is in there (even though they selected, assembled.)

“By untangling the academic function from the legal function [of citation and paraphrase], we open up assemblages and remixes to examination in terms of our academic and pedagogical goals” (399).

“What if we put the emphasis on problem-solving, originality be damned?” (380).

“creating assemblages requires the same rhetorical sophistication as any text” (391).

Notable Notes

Christopher Alexander pattern language – these design patterns are “an ongoing conversation between local and global” and “The possible rhetorical moves of a pattern language are a reservoir, drawn on by an architect to address problems in specific contexts, remixed into an assemblage. The assemblage works at the intersection of principle and concrete.” (395).

selection, choice, local context

change in assessment practices to question whether the assemblage solves problems (instead of the Romantic understanding of single original author)

students are taught this hierarchy – others’ work and words can only be used as support and are secondary to their own original thoughts

21st century remix culture is all around us


March 10, 2009

Latour, Reassembling the Social

Latour, Bruno. Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford: Oxford UP, 2005.

Latour, a French sociologist, gives in Reassembling the Social a guidebook for actor-network-theory (abbreviated ANT), a way of approaching sociology that is markedly different than most “science of the social” sociology studies, including critical sociology. ANT looks at the “tracing of associations” and has three moves that must be done in succession: first, deploying contraversies about the social work; second, rendering associations traceable again; and third, reassembling the social. This way of approaching sociology ends with society instead of beginning with it, seeing the collective built from networks of associations, associations and ties that can only be traced if they are dynamic and have movement. In this way, there is no such thing as a monolith, invisible force in society that makes people (or actors) act in a certain way – if it is invisible, it can’t be traced, and it can’t be studied. Rather, Latour argues that the sociology that can change the politics in society is a sociology that is grounded in the shifting sands of relativism and uncertainty, that sees actors as mediators of change, that goes slow and keeps flat the connections between actors and sites. It’s a move from the global to the local, and he uses metaphors from cartography to explain how he is trying to keep the social flat – in 2-D – so that the traces can be easily seen, traces that would be lost in 3-D. The implications of Latour’s explanation of actor-network-theory is that he argues that there is no such thing as a stable society: societies, collectives, are fluid, constantly being arranged and re-arranged, and any study that tries to look at society (using “social” as a all-encompassing modifier) is missing the point; disciplines must become sensitive to the very dynamic, complex nature of the collectives, socieites, and systems they are studying.

Quotable Quotes

“redefining sociology not as the ‘science of the social’, but as the tracing of associations. In this menaing of the adjective, social does not designate a thing among other things, like a black sheep among other white sheep, but a type of connnection between things that are not themselves social” (5)

“the work of connection and collection” – what reassembling the social is (8)

“The laws of the social world may exist, but they occupy a very different position from what the tradition had first thought. They are not behind the scene, above our heads and before the action, but after the action, below the participants and smack in the foreground. They don’t cover, nor encompass, nor gather, nor explain; they circulate, they format, they standardize, they coordinate, they have to be explained. There is no society, or rather, society is not the name of the whole terrain….For sociology the era of exploration may start again, provided we keep reminding ourselves of this motto: don’t fill in the blanks.” (246)

“The social is but a moment in the long history of assemblages, suspended between the search for the body politic and the exploration of the collective” (247)

“At every corner, science, religion, politics, law, economics, organizations, etc, offer phenomena that we have to find puzzling again if we want to understand the types of entities collectives may be composed of in the future.” (248)

Notable Notes

the move of the modern is creating two binaries that can’t be reconciled, they are two camps that must be distinct. (10) This moderninst construction makes postmodern hybrids, which deny that purification move to separate what is human and what is natural (10-11) People want to try to avoid the messy hybrids and do so by creating these binaries.

move to description – it is enough (time-consuming if you do a good job, difficult and complex) to describe what you see. There’s too often a push to jump to evaluations, conclusions, as if the people or systems you are studying weren’t critical or self-reflexive before you came on the scene (from the conversation between the professor (Latour) and the PhD student) 141-156

everything that acts leaves a trace – follow the traces

Gabriel Tarde – the social is a “circulating fluid,” “not a specific type of organism” (13)

five contraversies – the nature of 1. groups, 2. actions, 3. objects, 4. facts, and 5. the type of studies done under the label of sociology

contradictorary group enrollment – look at hte forming and unravelling of groups – social groups are performative definitions (34)

actors are not passive intermediatories, the are their own mediators (153)

three moves of the second part – regender associations traceable again: 1. localizing the global 2. redistrubiting the local 3. connecting sites

third move of political epistemology

March 9, 2009

Johnson-Eilola, The Database and the Essay

Johnson-Eilola, Johndan. “The Database and the Essay.” In Writing New Media. Eds. Anne Frances Wysocki, et al. Logan, Utah: Utah State UP, 2004. 199-235.

Drawing on scholarship and federal cases about intellectual property law and theories of writing as symbolic-analytic work and writing as articulation, Johnson-Eilola argues that composition teachers should begin valuing the processes of selection and connection (as done in blogging, database construction, MOOs, and search engine design) as writing, writing to discuss, analyze, and do in their classrooms. Writing, he argues, cannot be divorced from the economic sphere and must understand all information as value- and choice-laden. Two forces have combined to spark this change that composition teachers must understand and act upon: first, the postmodern move to recognize that there is no such thing as the solitary author, since all writing is social work; and second, that intellectual property law is increasingly seeing texts not as coherent wholes but rather chunks of marketable, commodified information and material. His assignments ask students to blog and look critically at how search engines organize and display information.

Quotable Quotes

Looking at “the breakdown of ‘text’ as a coherent and privileged object” (205)

Shift “away from thinking of intellectual property as a ‘work’ – as a relatively extended, coherent whole – and toward thinking of it as marketable chunks” (209).

“This new notion of writing as at least partly – perhaps primarily – about valuing connection will let us argue to our students that information is not neutral. Collection is a social and political act; there are not mere disembodied facts, but choices” (212).

Notable Notes

see selection and connection as writing – draw on articulation theory for this.

we need to begin connecting writing and architecture theories

postmodern, commodity, capitalist,

the business of information

controlling linking on webpages, database structure

February 23, 2009

Porter et al, Institutional Critique

Porter, James E., Patricia Sullivan, Stuart Blythe, Jeffrey T. Grabill, and Libby Miles. “Institutional Critique: A Rhetorical Methodology for Change.” CCC 51.4 (June 2000) 610-642.

Composition and rhetoric scholars need to begin seeing the institution itself, as a rhetorical and spatial entity, as the place where they might critique and enact change. Working with the situated institution prevents composition and rhetoric’s critiques and calls for change from being to global and idealistic or being so local (classroom-level) that it does not effect the institution as a whole. Institutions range from the university to the school, legal, and political system. Institutional critique as a methodolgy draws on postmodern mapping and critical theory, particularily investigating the rhetorical and spatial construction of institutions, the power dynamics at the boundaries, and the multiple historical and social perspectives of those in the institution. This kind of methodology begins to push the gap between research and service and might be one way of validating and rewarding the rich intellectual work that compositionists and rhetoricians do that is all but thrown away with the label of “service.” Rhetoric and composition as a field is uniquely equip to practice institutional critique.

Quotable Quotes

“Our basic claim is this: Though institutions are certainly powerful, they are not monoliths; they are rhetorically constructed human designs (whose power is reinforced by buildings, laws, traditions, and knowledge-making practices) and so are changeable” (611).

“We focus, then, on institutions as rhetorical systems of decision making that exercise power through the design of space (both material and discursive)” (621).

“Institutional critique is, fundamentally, a pragmatic effort to use rhetorical means to improve institutional systems” (625).

Notable Notes

projects like where a writing center is physically situated on campus; how and when during the publishing process a handbook is open for revision & the various stakes that go into such a production; Ellen Cushman’s work with Quarytown in The Struggle and the Tools.

advocacy – action to enact change. Can’t stop at critique. It fills in the gap between macro-level ideals and mirco-level classroom practices

equating the discipline with the institution ignores the material constraints the discipline has to work in (619)

design relationship – between rhetoric and space

David Sibley Geographies of Exclusion, postmodern geography

February 15, 2009

Randall, Pragmatic Plagiarism

Randall, Marilyn. Pragmatic Plagiarism: Authorship, Profit, and Power. Toronto: U of Toronto Press, 2001.

Plagiarism is not a textual feature; rather, plagiarism is identified, named, and made an accusation by the reader, who must interpret the author’s intentions based on the text itself, which may not give clues to the author’s motivations. Plagiarism is also pragmatic because it is a source of power: profit (economic), imperial (conquest and colonialism), and guerilla (subversive, political, and revolutionary.) Randall focuses exclusively on historical and contemporary cases of literary plagiarism suspicion and accusation, investigating (through her study of the role of the reader and the power motivations for plagiarism) why some authors are accused of the crime of plagiarism and others are praised as artists and genius authors. She points out that textual ownership (manifest through copyright law) is a far more recent phenomenon  than textual authorship (which forms the ethical foundation of plagiarism, imitation, and appropriation, and was written about in ancient times.)

Quotable Quotes

Plagiarism “is not an immenent feature of texts, but rather the result of judgments involving, first of all, the presence of some kind of textual repetition, but also, and perhaps more important, a conjunction of social, political, aesthetic, and cultural norms and presuppositions that motivate accusations or disculpations, elevating some potential plagiarisms to the level of great works of art, while censuring others and condemning the perpetrators to ignominy” (5).

Plagiarism and copyright are two different histories, invoking “two different realms – the deontic and the judicial” (76).

“Plagiarism is a judgment imposed upon texts” (xi) – she looks at the judgments, not the texts.

Notable Notes

Book Outline
Part 1: relationship between plagiarism and authorship; ancient and medieval notions of authority, authenticity, and originality; plagiarism is about identity; development of authors as originators and then owners of discourse.
Part 2: the importance of the reader in “naming, compiling, and criticizing either plagiarism or its critics” (xii)
Part 3: profit, imperial, and guerilla plagiarism – plagiarism as power
Conclusion: the digital age is questioning ideas of authorship and ownership, but the death of authorship would mean the death of plagiarism, and accusations against plagiarism aren’t going to cease

Plagiarism is unethical for two reasons: form of stealing (property) and form of fraud (authorship)

Plagiarism is a crime against authors; copyright infringement is a crime against owners (268)

Uses Bourdieu, Montainge

February 13, 2009

Halbert, Poaching and Plagiarizing

Halbert, Debora. “Poaching and Plagiarizing: Property, Plagiarism, and Feminist Futures.” In Perspectives on Plagiarism and Intellectual Property in a Postmodern World. Eds. Lise Buranen and Alice M. Roy, eds. Albany, NY: SUNY Press, 1999. 111-120.

Intellectual property laws and copyright should be eliminated in favor a view of intellectual property that emphasizes the creative potential of the commons and an attitude of acknowledging the sources of intellectual ideas and concepts. Such a view highlights the inherently social nature of creative activity, a perspective that challenges the patriarchal solitary author, who composes original thoughts and owns them as property through which to make a profit on. The alternative Halbert proposes is both feminist and postmodernist. Halbert also points out that arguments against plagiarism rooted in economic losses are misguided, explaining that plagiarism carries such weight because it is a personal offense and attack.

Quotable Quotes

“If we can emphasize a framework focused on sharing and exchange instead of personal ownership, then the concept of authorship as identifying ‘to whom something owes its origin’ is acceptable” (118)

“Unlike a tangible item, an idea can be shared by many and ownership of expressions can be difficult to enforce” (119).

“Plagiarism is about personal feelings, not profits” (117).

“For the feminist and the postmodernist, appropriation or plagiarism are acts of sedition against an already established mode of knowing, a way of knowing indebeted to male creation and property rights” (116).

“Intellectual property rights restrict the flow of texts” (116).

“Copyright produces a tension between how texts are created (a process that relies on textual paching, exchange, and sharing) and how texts are legally protexted (a process reliant on originality and private property)” (111)

Notable Notes

Outline of article: 1. explore partriarchal foundations (Locke and Hegel) of intellectual property and copyright law 2. look at current intersections of plagiarism, creativity, and property (case of Jeffrey Koons and “String of Puppies” wood carving) and 3. offer copyright alternative possibilities

January 16, 2009

Lupton and Phillips, Graphic Design

Lupton, Ellen and Jennifer Cole Phillips. Graphic Design: The New Basics. New York: Princeton Architectural Press, 2008.

This book was written out of response to the recent postmodern trend in graphic design, which emphasizes non-transferrable, customized, and context-specific design. Instead, the authors focus on the basic fundamental elements of graphic design, modeling the Bauhaus school of design, which “analyzed form in terms of basic geometric elements” (8). The goal of this type of focus is to understand graphic design on an intermediate, meso level: to understand design structurally, developing common language and vocabulary for which to talk about design across media. Even though the chapters focus on “the formal elements and phenomena of design” out of context, the authors acknowledge that in practice, “those components mix and overlap” (11). The elements and phenomena that are discussed include traditional ones that were studied at Bauhaus, like point, line, and plane, scale, texture, and figure/ground and more recent elements that are increasingly considered when designing with digital tools, like layers and transparency. Each chapter includes several student design projects from undergraduate and graduate students at the Maryland Institute College of Art (MICA.)

Quotable Quotes

“Today, the impure, the contaminated, and the hybrid hold as much allure as forms that are sleek and perfected. Visual thinkers often seek to spin out intricate results from simple rules or concepts rather than reduce an image or idea to its simplest parts” (8)

All design happens at some level “from the interaction of points, lines, and planes” (13)

“Balance is a fundamental human condition” (29) We need it physically, mentally, politically

“Balance and rhythm work together to create works of design that pulse with life, achieving both stability and surprise” (29)

“Frames create the conditions for understanding an image or object…They are part of the fundamental architecture of graphic design” (101)

“Design is the conscious effort to impose a meaningful order” (115) Victor Papanek quote

Notable Notes

How does form work? – central question of text

Chapters: Point, Line, Plane; Rhythm and Balance; Scale; Texture; Color; Figure/Ground; Framing; Hierarchy; Layers; Transparency; Modularity; Grid; Pattern; Diagram; Time and Motion; Rules and Randomness

Bauhaus is a German institute of design

Line is an infinite series of points; a plane is a moving line

Bezier curve is a line with an anchor and control points

scale is both objective and subjective. Things that lack scale have no cues that connect it to physical reality; a lack of scale contrast results in dull design.

Horizontal and vertical scaling

Figure/Ground tension – Vanderbilt University mark

Framing – margins and bleeds

designs of tables of contents (116-117)

hierarchy exercises with lines of text, like a concert program (118)

modularity is working within constraints

patterns arise out of three basic forms: dots (isolated forms), stripes(linear forms), and grids (interaction of the two)

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