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Honor Pledge, Research and Art in the Digital Age, and Peer Review Prep

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Class Agenda

  1. Tech Presentation #3: YouTube
  2. Wrap-up plagiarism, copyright, Honor Pledge, and adding a Creative Commons license to your blog using widgets
  3. Sirc, Duchamp, readymades, and postmodern art/creativity sharing
  4. Discussion of Digital Breadcrumbs
  5. Research Journal Assignment
  6. Peer-Review Prep

Finalizing our Honor Pledge

Here is the version from a previous section of CO302 that we have been debating:

On my honor as a writer and participant in online spaces, I pledge that I will maintain the autonomy of any source or website not claim anyone else’s copyrighted work as my own regardless of medium or mode of communication (writing, sound, image, video, etc.) unless the work has been transformative in purpose of function by me; I will always provide attribute credit for the work of others that appears within my projects for this class. I also pledge that when including images and other media in the projects for this class I will first attempt to use freely licensed or public domain materials. When I use copyrighted material for the purposes of social, cultural, or political critique or artistic remix I will abide by what is an ethical and legal use of the fair use doctrine.

Are we satisfied with this? The first sentence addresses plagiarism. The second and third sentences address copyright and fair use. Last time we discussed this we seemed to be in agreement about the plagiarism section, but unsure about the copyright section.

Sirc, Duchamp, readymades, and postmodern art/creativity

Sirc’s argument might be summed up as art, including writing, should have no hierarchy of aesthetic value but instead art should be flattened and democratized—all materials and forms are appropriate and the choice of material and form should be made situationally (i.e., rhetorically) not according to arbitrary rules that have been established by a disciplinary elite.

With the above summary of Sirc in mind, let’s look at some of your readymades and assisted readymades. Why did you choose to work with these materials and how did you decide on the alterations you would make to them?

Digital Breadcrumbs: Doing research online

Freewrite: Open up the ‘Discussion‘ section of our class Canvas page and take 5 minutes to write and post your answer to the following question.

How do you use (or not) the CSU library for research? What could the library do to make it more useful for you and other undergraduate researchers? What other online research tools do you use? What non-digital research tool do you use?

The big takeaway from Purdy and Walker (I will elaborate):

If we accept Barbara Mirel’s (1996) definition of invention as the discovery, selection, and retrieval of appropriate information (pp. 102-103), then such activities can be inventional–making what are often taken to be unengaged, aimless behaviors productive parts of composing. Indeed, the participants in this study find such work an important part of topic generation and idea development for their academic writing tasks. (Playing Researcher)

Research Journal Assignment

Just as you are now getting in the habit of completing a blog post every Thursday, you should also now get in the habit of completing a Research Journal every other Tuesday. The Research Journal serves two purposes: 1) it is a chance for you to see what others (related to your blog topic) are doing and 2) thus gives you post ideas, modes to emulate, and modes to avoid. The Research Journal is a chance to get you involved in the conversations on your topic, but it also encourages you to make rhetorically sound choices when doing so.

Peer Review Preparation

We will do two rounds of peer review this semester, each worth 25 points. (50 points total or 5% of the final grade)

  1. Fill out the sheet in the “Blog Author Info.” section of ‘Discussions’ in Canvas for your peer review group members and me. Upload the file to your group file Discussion in Canvas as soon as possible. Completing this sheet and giving it to your group members is worth 5 points.
  2. Get in your groups and go over your author information sheets to make sure your group members understand the feedback you are looking for.
  3. As a class, we will go over the review sheets (found in the “Blog Review Sheets” Discussion section of Canvas you will fill out for homework and upload to your group file Discussion in Canvas to access during Tuesday’s peer response workshop. Completing the review sheets is worth 10 points. Participating in class on Tuesday is worth an additional 10 points. Be sure to put your review sheets in the “blog reviewer sheets” Discussion and to title them with the name of the person whose blog you reviewed.
  4. If you are missing a group member today, they must upload their author information sheet to Canvas by Tuesday.

Homework:

Read: Ridolfo & DeVoss, Composing For Recomposition: Rhetorical Velocity and Delivery
Complete the Peer Review Preparation (see above info.)
Research Journal entry 1 due in Canvas
Review the final version of the Honor Pledge to make any final revisions before we accept it for final use in the class:

On my honor as a writer and participant in online spaces, I pledge that I will maintain the autonomy of any source or website nor claim anyone else’s copyrighted work as my own regardless of medium or mode of communication (writing, sound, image, video, etc.) unless the work has been transformative in purpose of function by me; I will always attribute credit for the work of others that appears within my projects for this class. I also pledge that when including images and other media in the projects for this class I will first attempt to use freely licensed or public domain materials. When I use copyrighted material for the purposes of social, cultural, or political critique or artistic remix I will abide by what is an ethical and legal use of the fair use doctrine.

Sirc, Duchamp, Readymades, and Writing

As you know, Tuesday’s class is cancelled, and the following post contains all the information you need to be ready for Thursday. I have published the project details for the Research Journal, so you can review them before writing your first entry, which is due next Tuesday. Let me know if you have questions.

What follows are the reading notes for the Sirc article, including the homework assignment due Thursday (the homework takes the place of today’s class) and some brief instructions for how to read Joyce Walker and James Purdy’s article for Thursday. This post is long, but contains very important information, so please stick with it.

Reading Notes for Geoffrey Sirc’s “What is Composition After Duchamp”

The modernist art movement of the early 20th century is too complex for me to try and summarize here, but I will do my best to clarify how and why Geoffry Sirc compares it to the field of college composition.

Modernist art and Duchamp

Sirc begins by retelling the story of the rejection of Marcel Duchamp’s painting, Nude Descending a Staircase from the 1912 Société des Artistes Indepéndants exhibition. This exhibition was billed as embodying the ethic of the Cubist movement (a form of modernism), which claimed to break down the boundaries of what counted as art and to open the field up to new artists. Sirc’s point is that rather than breaking down the boundaries of art, Cubism was instead redefining/refining those boundaries. For example, modernism tried to figure out what qualities were inherent to different art forms. For sculpture it was it’s three-dimensional quality. For painting, it was the flatness of the canvas (two-dimensional) and its representation of one moment in time. The Cubists tried to break down their subjects into their basic shapes rather than representational art’s aim to paint objects as we see them. They also attempted to show objects from multiple points of view at one time, painting an item as if the artist were looking at it from the left and right side simultaneously. Picasso’sStill Life with Compote and Glass is a prime example of this.

Pablo Picasso's Still Life with Compote and Glass

What Nude Descending a Staircase does is attempt to show movement, the passage of time, which modernist painters had decided was not inherent to the art of painting. Duchamp further violated the rules by painting a nude moving. Traditionally, nudes were  female subjects of representational painting and shown in lounging, submissive poses. In Duchamp’s painting the nude is moving and is not clearly male or female.

Marcel Duchamp's Nude Descending A Staircase

According to Sirc, Duchamp was actually doing what the Cubists claimed to be doing—he was breaking down the boundaries of what art could be. For him, “no juries, no prizes” meant no rules—anything could be art. This is the ethic behind his “readymades” and “assisted readymades.”  A urinal could be art if plucked out of the everyday and seen in a new context.

Duchamp chose a bicycle wheel for his first readymade, not because it was beautiful (or rare or difficult) but because it was commonplace, easily available: if it were lost, it could be replaced “like a hundred thousand others” (Lebel Marcel Duchamp 35). Duchamp understood the necessity for de-valuing materiality in the new art, affording anartism to everyone. With writing now defined as choosing rather than fabricating, all material is equal; it’s whatever catches the eye. “We will sample from anything we need. We will rip-off your mother if she has something we find appropriate for our compost-heap creations” (Amerika). Material is chosen not because it’s a privileged text, a “difficult” masterpiece from the “history of writing,” but because it’s around, on hand. It’s whatever is noticed out of the corner of one’s eye from the endlessly-shifting screen before one. Gangsta rap is so commonplace as to almost be a readymade, especially given the way so many rap songs are based on sampling of previously-recorded material (Duchamp called readymades he messed with a little “assisted readymades”). (Sirc  p. 44)

What does all this have to do with composition?

Sirc connects Duchamp to composition studies by arguing that writing teachers often engage in the same hypocrisy as the Cubist modernists. We (I am including myself in this group because I am a writing teacher and composition scholar) claim to want writing that is fresh and different and not writing that is just a highly polished version of already established forms and genres. Sirc uses David Bartholomae as his main example because Bartholomae is a composition teacher-scholar who has argued throughout his career that he wants students to wrestle with difficult ideas in their writing, that he would rather get a paper that was a little bit rough but took on challenging material than one that is highly polished but not taking any risks in its subject matter or the ways in which the writing approaches that subject matter. However, Sirc’s point is that Bartholomae (to extend the comparison) wants a cubist painting a la Picasso and not one of Duchamp’s readymades.

Bartholomae’s project is a modernist one: push the boundaries of writing not to destroy them, but to refine them. Bartholomae is not opposed to writing contests and prizes, he just wants to have better rules by which to make his judgements. Sirc makes this point through his discussion of the travel essay a student wrote about her missionary trip to St. Croix, which Bartholomae critiques in his article. Sirc claims that Bartholomae wants her essay to approach the topic the way Mary Louis Pratt would. Pratt is a composition scholar who coined the term “contact zone,” the space where two different cultures meet and wrestle with their political, social, and historical differences. The student’s essay is not like one of Pratt’s. Instead is more like something William Burroughs would have written—a recording of events as she saw them without analysis or critique of her viewpoint. For Bartholomae, a Pratt-style travel essay is the gold standard, and what the student wrote is thus not within the realm of art. It is outside the boundaries of what a travel essay should be.

It is at this point that Sirc begins playing with equations, and he brings in another example—the way that Richard Rodriguez (an academic) writes about the literacy work of Richard Hoggart (another academic). What Sirc wants is an approach to composition that would not hold up certain kinds of readings (they way Rodriguez writes about Hoggart) of certain kinds of material (Hoggart’s sociological work on literacy practices), but instead would value any kind of reading of any material at all.

[S]ampling, linking, glass, wires, photo-transfer, sound-bites—these are the materials of composition-in-general, the teleintertext; composition as I know it and love it: as blueprint, How-To Book, a sort of catalogue or “a sort of letter-box” (Duchamp 38), just putting stuff together—that’s the way I work—to see what I could get out of it; very very plastic. Writing full of new definitions, double-exposures; writing across all curriculums, kicks in all genres (Cabanne 82); amazing anel forgettable, wonderful  and oddly hollow; new adventures in hi-fi, just messing around. (Sirc p. 66-67)

This is a radical idea because school is all about teaching students how to think the right thoughts about the right things. Hamlet = yes. Fifty Shades of Grey = no. A travel essay about your trip to St. Croix = yes, but only if you approach the topic as Pratt would.

What does this have to do with writing in the digital age?

Everything. Here is how Sirc puts it.

Contemporary composition insists on the literary aesthetic of the Contact Zone but electronic writing operates in the anti-aesthetic of the Interzone, where “‘content’ is what the mediaconglomerates deliver into one’s home via the TV screen, and form is the ability to level out or flatten the meaning of all things’ (Olsen and Amerika). […] The Web, then, is the New Independents’ Salon, Malraux’s Museum-Without-Walls built on the shards of the now-fractal Palace of Modernism.

****

The means of production are in the hands of the consumers; the specialized knowledge of the academy becomes again increasingly beside-the-point for the now on-going intertextual salon. Increasingly new composing technologies means the media has no time to be practiced, perfected, conventionalized, ritualized. What aesthetic remains lies in capturing, choosing, from what is in front of his senses at the moment of writing; the hurried snapshot of life on the run, not a stylized drawing. “The important thing then is just this matter of timing, this snapshot effect” (Duchamp 32). (Sirc p. 52-53)

The web does not make distinctions between high and low culture and does not respect the boundaries of juried art or disciplinary (academic) writing. All texts (written, visual, aural) are equally available for consumption and remix.

Sirc also makes the point that the art of Duchamp and other avant-garde artists privileges “use value” over “exchange value.” That is, the art that we typically see in museums is valued not because it is useful, but because it has been deemed artistically significant by the art world and that is where its value comes from. We hang it on our walls because it signifies our level of education, our refined tastes. The Web also privileges use value, and the meme is the ultimate example of that—it is the 21st century assisted readymade.

Memes have a limited life span because they rely on timeliness (kairos) and their value is “used up” once the culture has moved on to a different topic. Each meme serve a specific purpose at a particular moment—it has a use value. The meme is similar to Duchamp’s parody of the Mona Lisa. He took a cheap, postcard-style reproduction of the painting and drew a mustache and goatee on it and titled it with the letters L.H.O.O.Q, which, when said quickly sounds like a crude, sexual statement in French. Duchamp made the Mona Lisa into a meme. High art is taken out of context and made into a low culture scribble for the purpose of critique and humor. But the original context is important. We must know the status of the Mona Lisa in the art world to get the joke.

One of my favorite memes was Texts from Hillary, which took a photo of Hillary Clinton working on Airforce One (and looking like a bad-ass while doing it) and added text and additional images making it look like she was exchanging texts with various famous people. My favorite incorporates another meme Feminist Ryan Gosling:

Texts from Hillary meme example

The Hillary meme is no longer active because cultural moment is past. She is no longer Secretary of State and in the public eye on a daily basis. This meme’s use value is used up. You can see from other Tumblr meme sites—Binders Full of Women, McKayla is Not Impressed—that this happens to some of the most popular memes. The site owners retire them and move on to other readymade projects.

As you might imagine, I am Team Sirc and not Team Bartholomae. I see your blogs as spaces to remix and reimagine your topics by pulling from the culture-at-large. All sources are legitimate material. It is the use you put the material to that matters and there is no privileged way to use your material.

With this in mind, here is your homework assignment. On Thursday bring to class one example of a readymade and one example of an assisted readymade.

  1. For the readymade, find an object, a text broadly defined, that you wish to put in a new context so that we might view it as art.
  2. For the assisted readymade, create a blackout poem a la Austin Kleon. Take a page of text (preferably from an academic article like the Sirc’s), and blackout with a marker all the words except the ones you wish to use to form your poem.

See. Easy and fun. (see below for more HW reminders)

How to read Digital Breadcrumbs for Thursday

Below is some guidance on navigating the reading for Thursday’s class session, Jim Purdy & Joyce Walker’s Digital Breadcrumbs: Case Studies of Online Research.

The navigation is actually very simple, just don’t get fooled by their clever visual design that makes the article look like a Google search. Purdy and Walker did a study of how researchers (undergrads, graduate students, and professionals) do online research, hence the clever visual design. There are many audio files in the article that are recordings of people actually doing their research and discussing what they are doing. Please listen to those as well as read the text.

The article is very linear. Simply click on the word “introduction” on the main page.

The article's main/first page

THE ARTICLE’S MAIN/FIRST PAGE

Then you can navigate the rest of the article in one of two ways. Click the next button at the bottom of each screen or click to each section using the table of contents on the right-hand side of the screen. That’s all there is to it!

navigation options for the article

NAVIGATION OPTIONS FOR THE ARTICLE

If you have any other questions, let me know.

Homework:

See the readymade and blackout poem assignment described above.

Complete your second blog post–again, I will be rather lenient for this week as you find your voice, but from this point on I will be more stringent in my expectations that you abide by our criteria of rhetorical concepts (purpose, audience, context, appeals, modes of delivery, etc.). Impress me!

Tech presentation #3 will present YouTube

Read: Purdy & Walker, Digital Breadcrumbs: Case Studies of Online Research (and Sirc, What is Composition After Duchamp? if you did not read it over the weekend)

Plagiarism, Copyright, and the Honor Pledge Cont’d

Class Agenda

  1. Tech Presentation: Group #2–Buzzfeed
  2. What is plagiarism in the digital age?
  3. Copyright Discussion
  4. Learn how to add a Creative Commons license to your blog
  5. Honor Pledge
  6. Wrap-up

Copyright & Plagiarism Discussion

Participation Activity: Log in to Canvas‘ ‘Discuission’ section and answer WTL #6: Take 5 minutes to write out your thoughts about what plagiarism consists of in the digital age.  Remember that plagiarism is the ethical side of using other people’s material.

Here is our running list of questions/issues we should consider with a few additions in orange:

  • citation v. remix v. piracy
    • two changes in code—technology and law—created a copyright crisis (Lessig and Devoss & Porter, p. 188)
    • file sharing and remix rely on the ethic of citation (Devoss & Porter, p. 186-187)
  • writing/print v. other forms of media
  • producers v. consumers (Devoss & Porter, p. 190-191)
  • what is creativity? what is originality?
  • what about an artist’s ability to make a living from her art?
  • What is fair use?
  • What does ethos have to do with all of this?

Let’s continue using the remix of the 2004 Pepsi/iTunes Superbowl commercial to explore these issues and then look at the controversy over the selling of “Who Dat Nation” t-shirts when the Saints were in the Super Bowl.

Here is the original commercial:

Here is the remix:

When the New Orleans Saints were in the Super Bowl several years ago, street vendors began selling “Who Dat Nation” t-shirts that featured the fleur-de-lis image:

whodat

The NLF sought to stop the production of these shirts because it claimed it owned the excessive right to use the fleur-de lis in conjunction with football. Ultimately, what it wanted was control over the profits generated by these shirts and the right to trademark the phrase “Who Dat Nation.” Should they have such exclusive rights to a phrase made popular by fans and originally taken from an Aaron Neville  song? If not the NFL, who, if anyone, should have such rights?

Honor Pledge Drafting

DeVoss & Porter ask writing teachers to reevaluate their approaches to plagiarism (p. 202-203) and I invite you to help me with this by collaboratively authoring our class honor pledge. The standard honor pledge reads as follows:

On my honor as a student, I pledge that I will not receive or give any unauthorized assistance on the assignments for this course.

Here is a version that students in a previous section of CO302 composed:

On my honor as a writer and participant in online spaces, I pledge that I will not claim anyone else’s work as my own regardless of medium or mode of communication (writing, sound, image, video, etc.); I will always provide attribution for the work of others that appears within my projects for this class. I also pledge that when including images and other media in the projects for this class I will, whenever possible, use freely licensed or public domain materials. When it is necessary for me to use copyrighted material for the purposes of social, cultural, or political critique or artistic remix I will abide by what I believe to be an ethical and legal interpretation of the fair use doctrine.

The CO302-specific honor pledge covers both plagiarism and copyright ethics and leaves room for the student to rhetorically justify uses of copyrighted materials that might be outside the letter of the law, but would be in keeping with Kleon, Lessig, or DeVoss & Porter’s philosophies.

What should ours look like?  Suggest some revisions you see that would be appropriate for the way our class wants to address this issue.

Homework:

Read: Sirc, What is Composition After Duchamp?
Listen: What is Original?

Plagiarism and Copyright (and some advice on the Blog Analysis)

Below is our agenda for today’s class followed by some final advice for completing the Blog Analysis project, which includes a sample analysis of The Pioneer Woman’s blog.

Class session agenda

Go to Canvas and complete the WTL #5 on Copyright, Plagiarism, and Remix

Review the Blog Analysis assignment

Read over the Blog Analysis and the example post to see if there are any questions.

Review the Research Journals assignment
Review the Research Journal criteria to prepare you for future material for your blog posts. These will be a bi-weekly assignment that are due on every other Tuesday starting on Sept. 27.

Discuss plagiarism and copyright and the difference between the two. 
Read the examples of five separate plagiarism cases outlined in the article, 5 famous plagiarism and fraud accusations in the book world. Do they all seem equal in their ethical violations? Should there be legal consequences in each case? Issues to consider during our discussion:

  • citation v. remix
  • writing/print v. other forms of media
  • what is creativity? what is originality?
  • what about an artist’s ability to make a living from her art?

Copyright & Plagiarism Discussion

Lessig’s argument against current U.S. Copyright law (that you will watch in its entirety before class Thursday—see homework below) hinges on his reading of the copyright clause in the Constitution:

screen-shot-2014-02-12-at-11-29-44-am

His goal is to balance the rights of an artist to make money from his/her creation with the need for science and the arts (i.e., our culture) to advance by building on (i.e., remixing) previous work.

This brings us back to our list of questions/issues from the WTL:

  • citation v. remix v. piracy
    • two changes in code: technology and law
  • writing/print v. other forms of media
  • what is creativity? what is originality?
  • what about an artist’s ability to make a living from her art?
  • What is fair use?

Danielle DeVoss and James Porter’s article (that you will read for Thursday) asks us to think about remix as a form of writing, one that is essential to communication and creativity in the digital age and one that changes how we should think about plagiarism and citation (and by extension, the economic models by which artist make a living from their art). One of their primary examples is a politically motivated remix of the 2004 Pepsi/iTunes Superbowl commercial that featured some of the teenagers who were prosecuted for illegally downloading music from the Internet. Let’s look at it in order to work through some of the questions/issues listed above.

Here is the original commercial:

Here is the remix:

Honor Pledge Drafting

After discussing the readings and our own positions on what should count as plagiarism and copyright violations in the digital age, we will craft our own version of the CSU honor pledge that fits the context of our course. The standard honor pledge reads as follows:

On my honor as a student, I pledge that I will not receive or give any unauthorized assistance on the assignments for this course.

Here is a version that students in a previous section of CO302 composed:

On my honor as a writer and participant in online spaces, I pledge that I will not claim anyone else’s work as my own regardless of medium or mode of communication (writing, sound, image, video, etc.); I will always provide attribution for the work of others that appears within my projects for this class. I also pledge that when including images and other media in the projects for this class I will, whenever possible, use freely licensed or public domain materials. When it is necessary for me to use copyrighted material for the purposes of social, cultural, or political critique or artistic remix I will abide by what I believe to be an ethical and legal interpretation of the fair use doctrine.

The CO302-specific honor pledge covers both plagiarism and copyright ethics and leaves room for the student to rhetorically justify uses of copyrighted materials that might be outside the letter of the law, but would be in keeping with Kleon, Lessig, or DeVoss & Porter’s philosophies.  Be prepared to draft a new version of the honor pledge in class on Thursday!

Questions on About pages, Welcome pages, header images, or the Blog Analysis project?

Here are some resources about creating static pages and menu items in wordpress:
Link to article about page basics
Link to a help article for menu items
Video instruction

Homework: