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students for their originality is "increasingly unrealistic in our postmodern age" as this method is based on antiquated ideas of creativity. Second, they treat the idea of isolating a student's unique composition from the inspiring source materials as unrealistic and futile. For
Johnson-Eilola and Selber, the ability to effectively contribute to academic or social discourse is what makes an assemblage valuable, not its "originality." Rather than claiming originality is not to be valued, the authors see it as fundamentally problematic and misleading as an evaluative concept. They suggest that academic evaluation be reconsidered with a new emphasis on affect: "What if the 'final' product a student produces—a text—is not concerned with original words or images on a page or screen but concerned primarily with assemblages of parts? Importantly, in this reconception, the assemblages do not distinguish primarily between which parts are supposed to be original and which have been found and gathered from someplace else; assemblages are interested in what works, what has social effects." In this model, the role of intertextuality is recognized as central to the composition of "new" material.
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least one set of social forces suggests to students that using citations and quotations from source materials will be valued less than their own original text, a situation that may encourage them to conceal their sources." While the current system of academic evaluation allows, and actually calls, for citation of source materials, Johnson-Eilola and Selber find that the placement of value on original work encourages students to hide sources in an attempt to demonstrate original thought. The emphasis on original work, according to
Johnson-Eilola and Selber, may actually contribute to plagiarism. The authors believe that the emphasis on original work is unnecessary because "rhetorical purposes can be addressed in context by either original or borrowed/quoted texts without a hierarchy of distinction between the two."
186:," which describes a technique used by new authors. Patchwriting "involves copying from a source text then deleting some words, altering grammatical structures, or plugging in one-to-one synonym-substitutes." This technique can traditionally be viewed as a form of plagiarism, but it is also considered useful for learning how to communicate within expert discourse. Johnson-Eilola and Selber reference patchwriting in an attempt to demonstrate the practical uses of otherwise "plagiaristic" practices, not to establish a connection between patchwriting and assemblage. While patchwriting can be a useful learning tool, it is completely distinct from assemblage. Assemblage is more than the systematic replacement of like terms and is closer to the artistic style of
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that can be used alongside the creation of original text. Michael J. Michaud writes that "assemblages are ubiquitous in contemporary workplaces" where problem solving is paramount because assemblage allows authors to "meet discursive needs and to get work done." He further argues that students with workplace experience often transfer assemblage writing into the composition classroom. Assemblage allows such authors to alter existing texts and combine them with original work in order to meet the demands of a writing situation or problem.
88:. In this book Brown and Duguid state that the meaning of and use for a text is directly influenced both by its source texts and the broader textual context in which it participates. Building upon this notion, Johnson-Eilola and Selber position assemblage as a style of composition situated within postmodernism. They state that "in a general sense, postmodern theories, and following them,
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intellectual and physical resources, and dramatize the social dimensions of composing." However, they also recognize that "remixing as a form of composition inhabits a contested terrain of creativity, intellectual property, authorship, corporate ownership, and power." While the practice of remixing is often marked by
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In support for their argument against the traditional view of plagiarism, Johnson-Eilola and Selber cite current critiques from other scholars. They refer to Price, who argued that plagiarism cannot be defined as a single concept, but is dependent upon the cultural practice and conventions in a given
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They further assert that such a distinction is based upon outdated notions of "the lone genius" and is no longer practical in an academic setting. While they concede that "teachers no longer evaluate writing completely as an isolated, decontextualized artifact," Johnson-Eilola and Selber maintain "at
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Johnson-Eilola and Selber assert that despite shifting attitudes in academia, work produced by students at the scholastic and collegiate level is still evaluated in terms of its originality. They find fault with the current evaluative process for two reasons. First, the authors find that evaluating
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Johnson-Eilola and Selber believe that composition should be undertaken as a problem solving activity rather than a demonstration of original ideas. They write that "writing situations are, at base, problem-solving situations in one way or another," and offer assemblage as a form of problem solving
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new concepts and practices into the prior model of writing." In contrast, they define assemblage models as “grafting...isolated ‘bits’ of learning onto prior structure without either recognition of differences between prior and current writing conceptions and tasks or synthesis of them." While a
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The idea of assemblages is closely tied to the practice of remix. Remix, originally referring to a reworked song, has been extended to describe any significant alteration of media, most commonly film and literature. Johnson-Eilola and Selber claim that remix "can aid invention, leverage
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cannot occur separate from that discourse. They state that "productive participation involves appropriation and re-appropriation of the familiar" in a manner that conforms to existing discourse and audience expectations. In reference to intertextuality, Johnson-Eilola and Selber cite
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Hall, Stuart. (1986). On postmodernism and articulation: An interview with Stuart Hall (Lawrence
Grossberg, Ed.) Journal of Communication Inquiry, 5, 35–60. Rpt. in Stuart Hall: Critical dialogues in cultural studies. (1996). David Morley & Kuan-Hsing Chen (Eds.). London:
92:, offer a useful way of understanding assemblages (and the related process of remixing) as simultaneously social and textual structures." Johnson-Eilola and Selber suggest that texts should always be treated as assemblages since composition is often highly intertextual.
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While assemblage is closely tied to remix, there are distinctions between the two. In discussing models of writing, Liane
Robertson, Kara Taczak, and Kathleen Blake Yancey describe remix models of writing as "prior knowledge revised synthetically to
174:. In his presentation Porter described how plagiarism is sometimes encouraged in the academic community, offering examples of "ways teachers plagiarize all the time—among them, sharing syllabi (with plagiarized plagiarism statements!), using
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Robertson, Liane, Kara Taczak, and
Kathleen Blake Yancey, Notes Towards a Theory of Prior Knowledge and Its Role in College Composers' Transfer of Knowledge and Practice, Composition Forum, Vol. 26. (2012), np.
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of elements of culture by various social groups. Johnson-Eilola and Selber connect assemblage, remix, and articulation as examples of meaning being situated in a specific material and social context.
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refers to a text "built primarily and explicitly from existing texts to solve a writing or communication problem in a new context". The concept was first proposed by
Johndan Johnson-Eilola (author of
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Michaud, Michael J, The 'Reverse
Commute: Adult Students and the Transition from Professional to Academic Literacy, Teaching English in the Two Year College, Vol. 38, No. 4. (2011), pp. 244–257.
49:, "There is no greater mistake than the supposition that a true originality is a mere matter of impulse or inspiration. To originate, is carefully, patiently, and understandingly to combine."
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Porter, James E. (2006). Forget plagiarism, teach filesharing and fair use. Paper presented at the convention of the
Conference on College Composition and Communication, Chicago, IL.
201:, a cut up collage assembled from words and phrases cut from magazines and glued together to form a picture of Abraham Lincoln being assassinated at Ford's Theater.
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264:"Edgar Allan Poe Society of Baltimore - Works - Editions - the Complete Works of Edgar Allan Poe - Vol. XIV: Essays and Miscellanies (Peter Snook)"
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Price, Margaret. (2002). Beyond ‘gotcha!’: Situating plagiarism in policy and pedagogy. College
Composition and Communication, 54, 88–115.
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Selber and
Johnson-Eilola, Plagiarism, Originality, Assemblage, Computers and Composition, Vol. 24, No. 4. (2007), pp. 375–403
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or incorporation of elements, an assemblage is a combination in which there are recognizable boundaries between elements.
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Brown, John Seely, & Duguid, Paul. (2000). The social life of information. Boston, MA: Harvard Business School Press.
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Howard, Rebecca Moore. (2000). Sexuality, textuality: The cultural work of plagiarism. College English, 62, 37–55
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issues, the authors acknowledge that remix is nevertheless becoming an increasingly common creative form.
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work of others." Johnson-Eilola and Selber also refer to a 1993 article by Rebecca Moore Howard on "
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http://compositionforum.com/issue/26/prior-knowledge-transfer.php
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906:Détournement
740:YouTube poop
735:Video mashup
683:Collage film
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552:Flarf poetry
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461:Parody music
441:Music mashup
416:Contrafactum
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1590:Short story
1381:Description
1300:Open source
1088:Plot device
1038:Originality
1021:Fan fiction
886:After (art)
842:Translation
698:Parody film
582:Visual arts
511:Tribute act
374:in the arts
176:boilerplate
159:derivative.
155:plagiarized
151:originality
135:Stuart Hall
118:remix is a
115:incorporate
86:Paul Duguid
71:composition
1585:Screenplay
1539:Stylistics
1498:Plagiarism
1473:Assemblage
1466:Prewriting
1416:Techniques
1396:Literature
1386:Exposition
1193:Nachahmung
1179:Dionysian
1119:L.H.O.O.Q.
1043:Simulacrum
852:Adaptation
832:Plagiarism
766:Joke theft
749:Other arts
542:Assemblage
404:Contrafact
308:Routledge.
242:References
24:Assemblage
1068:Archetype
1060:and forms
1016:Fan labor
896:Bricolage
837:Quotation
725:TV format
631:Mona Lisa
526:Vaporwave
521:Variation
481:Quodlibet
476:Potpourri
466:Pasticcio
456:Nightcore
120:synthesis
67:discourse
28:Datacloud
1631:Category
1529:Register
1507:Features
1493:Pastiche
1483:Diegesis
1288:Fair use
1181:imitatio
1174:Diegesis
998:Afflatus
970:Anti-art
957:concepts
901:Citation
865:Literary
827:Pastiche
812:Allusion
796:concepts
794:General
720:Supercut
506:Standard
496:Sampling
380:By field
205:See also
194:Examples
1488:Mimesis
1454:Methods
1213:Pop art
1187:Mimesis
1131:Quixote
931:Reprise
870:Theatre
756:In-joke
730:Vidding
594:Collage
221:Collage
199:Paradox
188:collage
32:journal
1580:Poetry
1435:Cliché
1401:Writer
1146:(2010)
1136:(1939)
1123:(1919)
936:Satire
926:Mashup
916:Homage
822:Parody
817:Calque
708:Remake
491:Riddim
436:Medley
426:DJ mix
1575:Novel
1565:Essay
1553:Forms
1445:Trope
1440:Idiom
1110:works
1028:Genre
1009:Muses
647:Pietà
639:David
614:Swipe
567:Trope
516:Trope
486:Remix
387:Music
211:Remix
107:legal
39:remix
1570:Joke
1544:Tone
1295:Meme
1162:Dada
860:Film
409:list
172:CCCC
133:and
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61:and
43:work
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