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	<title>Comments on: Two: Authorship</title>
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	<link>http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence</link>
	<description>Publishing, Technology, and the Future of the Academy</description>
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		<title>By: George Carr</title>
		<link>http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/two-authorship/#comment-986</link>
		<dc:creator>George Carr</dc:creator>
		<pubDate>Wed, 17 Feb 2010 16:54:58 +0000</pubDate>
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		<description>Second the bravery comment; and also note the intrigue raised for me by your honesty in confessing the anxiety raised by pre-writing discussion.  In my work (academic legal writing for a functional audience, rather than an academic audience) there is far less pride of authorship, mostly because there is no prestige system built around sole authorship; both clients and senior lawyers assume that briefs are collaboratively authored, especially large and complex ones.  Thus there is much less anxiety about plagiarism and authorship in my work; however there is proportionally more anxiety about the amorphousness of evaluation processes for advancement and tenure, much as you describe elsewhere in this work.</description>
		<content:encoded><![CDATA[<p>Second the bravery comment; and also note the intrigue raised for me by your honesty in confessing the anxiety raised by pre-writing discussion.  In my work (academic legal writing for a functional audience, rather than an academic audience) there is far less pride of authorship, mostly because there is no prestige system built around sole authorship; both clients and senior lawyers assume that briefs are collaboratively authored, especially large and complex ones.  Thus there is much less anxiety about plagiarism and authorship in my work; however there is proportionally more anxiety about the amorphousness of evaluation processes for advancement and tenure, much as you describe elsewhere in this work.</p>
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		<title>By: Kathleen Fitzpatrick</title>
		<link>http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/two-authorship/#comment-967</link>
		<dc:creator>Kathleen Fitzpatrick</dc:creator>
		<pubDate>Tue, 16 Feb 2010 16:29:30 +0000</pubDate>
		<guid isPermaLink="false">http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/?page_id=102#comment-967</guid>
		<description>Thanks so much, Paul; that&#039;s really what I was hoping for.  And the feedback I&#039;ve gotten has been enormously important.  I&#039;m working my way back through the comments now (hence the belated reply) in preparation for settling into intensive revising, and I&#039;m recognizing the degree to which multiple voices will need to be acknowledged and included in the final text...</description>
		<content:encoded><![CDATA[<p>Thanks so much, Paul; that&#8217;s really what I was hoping for.  And the feedback I&#8217;ve gotten has been enormously important.  I&#8217;m working my way back through the comments now (hence the belated reply) in preparation for settling into intensive revising, and I&#8217;m recognizing the degree to which multiple voices will need to be acknowledged and included in the final text&#8230;</p>
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		<title>By: Paul F. Gehl</title>
		<link>http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/two-authorship/#comment-886</link>
		<dc:creator>Paul F. Gehl</dc:creator>
		<pubDate>Wed, 27 Jan 2010 01:49:33 +0000</pubDate>
		<guid isPermaLink="false">http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/?page_id=102#comment-886</guid>
		<description>I think this is a very brave paragraph. You enunciate nicely (and in personal terms) the tensions involved in trying to live up to essentially Romantic notions of original, creative authorship. In fact we all now live in a world where we can hardly remember, much less clearly keep track of, the sources of all that we think and write. The pleasure of reading a book you are allowing us to read in draft is partly in recognizing that you both acknowledge and embrace some of these anxieties. Even if your reader/commentors actually contribute fairly little substantially, you have created a forum for conversation about writing that is original and let us be part of that.</description>
		<content:encoded><![CDATA[<p>I think this is a very brave paragraph. You enunciate nicely (and in personal terms) the tensions involved in trying to live up to essentially Romantic notions of original, creative authorship. In fact we all now live in a world where we can hardly remember, much less clearly keep track of, the sources of all that we think and write. The pleasure of reading a book you are allowing us to read in draft is partly in recognizing that you both acknowledge and embrace some of these anxieties. Even if your reader/commentors actually contribute fairly little substantially, you have created a forum for conversation about writing that is original and let us be part of that.</p>
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		<title>By: Katherine Rowe</title>
		<link>http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/two-authorship/#comment-830</link>
		<dc:creator>Katherine Rowe</dc:creator>
		<pubDate>Sat, 16 Jan 2010 16:23:04 +0000</pubDate>
		<guid isPermaLink="false">http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/?page_id=102#comment-830</guid>
		<description>As a Shakespeare scholar long interested in remixing for early print and stage, I note some dissonance in the two citations above. In keeping with the classic humanist commonplacing tradition de Certeau invokes, both of them attribute their sources. The power of both statements depends as much on the reputation of the writers, the intellectual lineage they affiliate with, as on the elegance and pithiness of the expressions.

This dissonance reminds me that the modes of &quot;plagiarism&quot; we worry about now really incorporate challenges to at least three kinds of authorial claims, which the history of print as a form has bound together but which are not identical with each other. 

-- the obligation when representing someone else&#039;s ideas to represent them accurately
-- intellectual property rights to print, distribute, license
-- rights of attribution (sometimes under the umbrella of &quot;moral rights&quot; of authors)

In a reputation economy, it matters what scholarship -- what words -- your name is attached to. In a dynamic publishing environment where reputation is an important currency, one might imagine some acts of scholarship where one wishes group attributions, some where one simply contributes content in the interests of a greater good (wiki style white-papers on specific topics, say) and some where one wishes ones own contributions acknowledged. It is easy to slide across these territories without recognizing that one has done so, and that is becoming as true of conventional publishing today as it is of online publishing. For example, the emergent practice of &quot;custom publishing&quot; is trending towards online publishing in tolerating that instability. Custom publishing arrangements allow an instructor to pick and choose from a publisher&#039;s content list, perhaps even at the level of paragraphs, perhaps combining her own original materials with materials the publisher owns)  These arrangements are far from centralized for all publishers; in many cases, no content-area editor oversees them. So if you publish scholarship with the provision that it may be used in &quot;custom publishing&quot; you are entertaining this possibility: another instructor might select a few pages (which may or may not accurately represent your thinking), add her own writing to them, and publish that with your name on it, with your name and hers together, or only your name on it. This is a limit-case, perhaps. Is it one we would be right to be concerned about?

I think KF&#039;s study is particularly sound in the ways it ask what is *enabling* of intellectual discourse in our traditional models, as well as what&#039;s inhibiting of it. The moral right of attribution is enabling, I think, in that it populates the community of knowledge with textual persons that one can be in conversation with over time and space.</description>
		<content:encoded><![CDATA[<p>As a Shakespeare scholar long interested in remixing for early print and stage, I note some dissonance in the two citations above. In keeping with the classic humanist commonplacing tradition de Certeau invokes, both of them attribute their sources. The power of both statements depends as much on the reputation of the writers, the intellectual lineage they affiliate with, as on the elegance and pithiness of the expressions.</p>
<p>This dissonance reminds me that the modes of &#8220;plagiarism&#8221; we worry about now really incorporate challenges to at least three kinds of authorial claims, which the history of print as a form has bound together but which are not identical with each other. </p>
<p>&#8211; the obligation when representing someone else&#8217;s ideas to represent them accurately<br />
&#8211; intellectual property rights to print, distribute, license<br />
&#8211; rights of attribution (sometimes under the umbrella of &#8220;moral rights&#8221; of authors)</p>
<p>In a reputation economy, it matters what scholarship &#8212; what words &#8212; your name is attached to. In a dynamic publishing environment where reputation is an important currency, one might imagine some acts of scholarship where one wishes group attributions, some where one simply contributes content in the interests of a greater good (wiki style white-papers on specific topics, say) and some where one wishes ones own contributions acknowledged. It is easy to slide across these territories without recognizing that one has done so, and that is becoming as true of conventional publishing today as it is of online publishing. For example, the emergent practice of &#8220;custom publishing&#8221; is trending towards online publishing in tolerating that instability. Custom publishing arrangements allow an instructor to pick and choose from a publisher&#8217;s content list, perhaps even at the level of paragraphs, perhaps combining her own original materials with materials the publisher owns)  These arrangements are far from centralized for all publishers; in many cases, no content-area editor oversees them. So if you publish scholarship with the provision that it may be used in &#8220;custom publishing&#8221; you are entertaining this possibility: another instructor might select a few pages (which may or may not accurately represent your thinking), add her own writing to them, and publish that with your name on it, with your name and hers together, or only your name on it. This is a limit-case, perhaps. Is it one we would be right to be concerned about?</p>
<p>I think KF&#8217;s study is particularly sound in the ways it ask what is *enabling* of intellectual discourse in our traditional models, as well as what&#8217;s inhibiting of it. The moral right of attribution is enabling, I think, in that it populates the community of knowledge with textual persons that one can be in conversation with over time and space.</p>
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		<title>By: Kathleen Fitzpatrick</title>
		<link>http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/two-authorship/#comment-286</link>
		<dc:creator>Kathleen Fitzpatrick</dc:creator>
		<pubDate>Mon, 02 Nov 2009 02:26:24 +0000</pubDate>
		<guid isPermaLink="false">http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/?page_id=102#comment-286</guid>
		<description>And now want to add to it: &lt;em&gt;&quot;in spite of a persistent fiction, we never write on a blank page, but always on one that has already been written on...&quot;&lt;/em&gt; -- Michel de Certeau, &lt;em&gt;The Practice of Everyday Life&lt;/em&gt;</description>
		<content:encoded><![CDATA[<p>And now want to add to it: <em>&#8220;in spite of a persistent fiction, we never write on a blank page, but always on one that has already been written on&#8230;&#8221;</em> &#8212; Michel de Certeau, <em>The Practice of Everyday Life</em></p>
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		<title>By: Kathleen Fitzpatrick</title>
		<link>http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/two-authorship/#comment-137</link>
		<dc:creator>Kathleen Fitzpatrick</dc:creator>
		<pubDate>Thu, 01 Oct 2009 20:08:02 +0000</pubDate>
		<guid isPermaLink="false">http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/?page_id=102#comment-137</guid>
		<description>I &lt;em&gt;love&lt;/em&gt; that.</description>
		<content:encoded><![CDATA[<p>I <em>love</em> that.</p>
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		<title>By: Kathleen Fitzpatrick</title>
		<link>http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/two-authorship/#comment-60</link>
		<dc:creator>Kathleen Fitzpatrick</dc:creator>
		<pubDate>Sat, 26 Sep 2009 15:42:39 +0000</pubDate>
		<guid isPermaLink="false">http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/?page_id=102#comment-60</guid>
		<description>Mmm, good point.  And I usually hate such casual uses of &quot;deconstruction.&quot;  What I mean to say here is something more akin to &quot;our attempts to dismantle and decenter the notion of authorship,&quot; which is less pithy, but more accurate.</description>
		<content:encoded><![CDATA[<p>Mmm, good point.  And I usually hate such casual uses of &#8220;deconstruction.&#8221;  What I mean to say here is something more akin to &#8220;our attempts to dismantle and decenter the notion of authorship,&#8221; which is less pithy, but more accurate.</p>
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		<title>By: David Parry</title>
		<link>http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/two-authorship/#comment-59</link>
		<dc:creator>David Parry</dc:creator>
		<pubDate>Sat, 26 Sep 2009 15:37:05 +0000</pubDate>
		<guid isPermaLink="false">http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/?page_id=102#comment-59</guid>
		<description>Re: &quot;deconstruction of the notion of authorship&quot;
I am not sure deconstruction is the right word here. Deconstruction isn&#039;t performed or wielded like a tool, it just is. (Deconstruction, like shit, happens.) Plus I think it might be more narrow than the meaning the rest of this paragraph implies.</description>
		<content:encoded><![CDATA[<p>Re: &#8220;deconstruction of the notion of authorship&#8221;<br />
I am not sure deconstruction is the right word here. Deconstruction isn&#8217;t performed or wielded like a tool, it just is. (Deconstruction, like shit, happens.) Plus I think it might be more narrow than the meaning the rest of this paragraph implies.</p>
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		<title>By: David Parry</title>
		<link>http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/two-authorship/#comment-58</link>
		<dc:creator>David Parry</dc:creator>
		<pubDate>Sat, 26 Sep 2009 15:28:50 +0000</pubDate>
		<guid isPermaLink="false">http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/?page_id=102#comment-58</guid>
		<description>&lt;em&gt;“During the course of this long volume I have undoubtedly plagiarized from many sources–to use the ugly term that did not bother Shakespeare’s age. I doubt whether any criticism or cultural history has ever been written without such plagiary, which inevitably results from assimilating the contributions of your countless fellow-workers, past and present. The true function of scholarship as a society is not to stake out claims on which others must not trespass, but to provide a community of knowledge in which others may share.” -F. O. Matthiessen,&lt;/em&gt; American Renaissance &lt;em&gt;1941.&lt;/em&gt;</description>
		<content:encoded><![CDATA[<p><em>“During the course of this long volume I have undoubtedly plagiarized from many sources–to use the ugly term that did not bother Shakespeare’s age. I doubt whether any criticism or cultural history has ever been written without such plagiary, which inevitably results from assimilating the contributions of your countless fellow-workers, past and present. The true function of scholarship as a society is not to stake out claims on which others must not trespass, but to provide a community of knowledge in which others may share.” -F. O. Matthiessen,</em> American Renaissance <em>1941.</em></p>
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		<title>By: amandafrench</title>
		<link>http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/two-authorship/#comment-37</link>
		<dc:creator>amandafrench</dc:creator>
		<pubDate>Wed, 23 Sep 2009 13:56:26 +0000</pubDate>
		<guid isPermaLink="false">http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/?page_id=102#comment-37</guid>
		<description>Well, of course, I do have the line on my CV! So what, after all, does it matter if the work itself isn&#039;t actually available to be read?</description>
		<content:encoded><![CDATA[<p>Well, of course, I do have the line on my CV! So what, after all, does it matter if the work itself isn&#8217;t actually available to be read?</p>
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		<title>By: Kathleen Fitzpatrick</title>
		<link>http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/two-authorship/#comment-16</link>
		<dc:creator>Kathleen Fitzpatrick</dc:creator>
		<pubDate>Sun, 20 Sep 2009 20:09:49 +0000</pubDate>
		<guid isPermaLink="false">http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/?page_id=102#comment-16</guid>
		<description>Yikes -- that&#039;s an awful story, Amanda, and an amazing illustration of exactly what&#039;s wrong with scholarly publishing as we know it today.  THE POINT is both not what it ought to be (I write because I have something to say, something I want to share with my field, to help it advance) and not working for what it is (I write to get a job, and then to keep it).  Three years -- is just appalling.  There&#039;s got to be a better way.</description>
		<content:encoded><![CDATA[<p>Yikes &#8212; that&#8217;s an awful story, Amanda, and an amazing illustration of exactly what&#8217;s wrong with scholarly publishing as we know it today.  THE POINT is both not what it ought to be (I write because I have something to say, something I want to share with my field, to help it advance) and not working for what it is (I write to get a job, and then to keep it).  Three years &#8212; is just appalling.  There&#8217;s got to be a better way.</p>
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		<title>By: amandafrench</title>
		<link>http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/two-authorship/#comment-11</link>
		<dc:creator>amandafrench</dc:creator>
		<pubDate>Sun, 20 Sep 2009 07:35:03 +0000</pubDate>
		<guid isPermaLink="false">http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence/?page_id=102#comment-11</guid>
		<description>How marvelous to read this. I might add, and of course you might as well, that another unsaid academic anxiety about writing has to do with THE POINT, as in, what&#039;s THE POINT of writing academic work if (as you previously established) it&#039;s unlikely to be read. Frequently, of course, THE POINT is careerist. 

And even that careerist point can be uncompelling -- at least I&#039;ve found it so. Speaking personally, I&#039;ve found it to be a vicious circle: I need to publish in order to get an academic job, but I don&#039;t see the point of writing academic pieces if I don&#039;t have an academic job. And yet I have done some publishing, though not a deluge: I published a couple of articles in okay journals before I went on the job market, didn&#039;t get a job, spent a couple of years trying to get my dissertation published as a book with editors telling me that it was great work but wouldn&#039;t sell, didn&#039;t get a job, gave up on trying to get my dissertation published as a book, turned a dissertation chapter into an article that was accepted by a truly major journal in my field, was shocked to learn that said article wouldn&#039;t be published for nearly three years, didn&#039;t get a job, didn&#039;t get a job, didn&#039;t get a job. Any steam I originally had when it comes to academic writing continues to hiss thinly away.</description>
		<content:encoded><![CDATA[<p>How marvelous to read this. I might add, and of course you might as well, that another unsaid academic anxiety about writing has to do with THE POINT, as in, what&#8217;s THE POINT of writing academic work if (as you previously established) it&#8217;s unlikely to be read. Frequently, of course, THE POINT is careerist. </p>
<p>And even that careerist point can be uncompelling &#8212; at least I&#8217;ve found it so. Speaking personally, I&#8217;ve found it to be a vicious circle: I need to publish in order to get an academic job, but I don&#8217;t see the point of writing academic pieces if I don&#8217;t have an academic job. And yet I have done some publishing, though not a deluge: I published a couple of articles in okay journals before I went on the job market, didn&#8217;t get a job, spent a couple of years trying to get my dissertation published as a book with editors telling me that it was great work but wouldn&#8217;t sell, didn&#8217;t get a job, gave up on trying to get my dissertation published as a book, turned a dissertation chapter into an article that was accepted by a truly major journal in my field, was shocked to learn that said article wouldn&#8217;t be published for nearly three years, didn&#8217;t get a job, didn&#8217;t get a job, didn&#8217;t get a job. Any steam I originally had when it comes to academic writing continues to hiss thinly away.</p>
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