Assemblage (composition)
Encyclopedia
Assemblage refers to a text "built primarily and explicitly from existing texts in order to solve a writing or communication problem in a new context". The concept was first proposed by Johndan Johnson-Eilola (author of Datacloud) and Stuart Selber in the journal
, Computers & Composition, in 2007. The notion of assemblages builds on remix
and remix practices, which blur distinctions between invented and borrowed work
.
nature of writing, and they assert that participation in existing discourse
necessarily means that composition
cannot occur separate from that discourse. They state that "productive participation involves appropriation and re-appropriation of the familiar" in a manner that confirms to existing discourse and audience expectations. In reference to intertextuality, Johnson-Eilola and Selber cite The Social Life of Information
by John Seely Brown
and Paul Duguid. In this book the authors 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 in 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, cultural studies
, 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. They believe that composition should be undertaken as a problem solving activity rather than demonstration of original ideas.
and literature
. Johnson-Eilola and Selber claim that remix "can aid invention, leverage 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 legal
issues, the authors acknowledge that remix is nevertheless becoming an increasingly common creative form. Assemblage and remix are also related to articulation
. The sociological practice of articulation, as described by Antonio Gramsci
and Stuart Hall
, among others, refers to the appropriation
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.
. The traditional distinction between original and plagiarized
material maintains that not only is original work superior in terms of creative effort, but that it is not derivative
. Johnson-Eilola and Selber claim 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 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." The authors 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 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. Johnson-Eilola and Selber refer to a 1993 article by Rebecca Moore Howard on "patchwriting," 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 considered useful for learning how to communicate within expert discourse. Johson-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 collage
.
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. 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 authors believe that this system 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."
In support for their argument against the traditional view 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 situation. They also acknowledge a presentation given by James Porter in 2006 at CCCC
. 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 boilerplate
text for administrative documents, and failing to acknowledge the bibliographic
work of others."
Academic journal
An academic journal is a peer-reviewed periodical in which scholarship relating to a particular academic discipline is published. Academic journals serve as forums for the introduction and presentation for scrutiny of new research, and the critique of existing research...
, Computers & Composition, in 2007. The notion of assemblages builds on remix
Remix
A remix is an alternative version of a recorded song, made from an original version. This term is also used for any alterations of media other than song ....
and remix practices, which blur distinctions between invented and borrowed work
Literature
Literature is the art of written works, and is not bound to published sources...
.
In Composition
Johnson-Eilola and Selber discuss the intertextualIntertextuality
Intertextuality is the shaping of texts' meanings by other texts. It can include an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another. The term “intertextuality” has, itself, been borrowed and transformed many times since it was coined...
nature of writing, and they assert that participation in existing discourse
Discourse
Discourse generally refers to "written or spoken communication". The following are three more specific definitions:...
necessarily means that composition
Composition (language)
The term composition , in written language, refers to the collective body of important features established by the author in their creation of literature...
cannot occur separate from that discourse. They state that "productive participation involves appropriation and re-appropriation of the familiar" in a manner that confirms to existing discourse and audience expectations. In reference to intertextuality, Johnson-Eilola and Selber cite The Social Life of Information
The Social Life of Information
In their 2000 book The Social Life of Information, John Seely Brown and Paul Duguid, discuss recently developed practices in the transmission of information in social and business context.As the introduction states, the authors argue that developing...
by John Seely Brown
John Seely Brown
John Seely Brown is a researcher who specializes in organizational studies with a particular bent towards the organizational implications of computer-supported activities....
and Paul Duguid. In this book the authors 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 in participates. Building upon this notion, Johnson-Eilola and Selber position assemblage as a style of composition situated within postmodernism
Postmodernism
Postmodernism is a philosophical movement evolved in reaction to modernism, the tendency in contemporary culture to accept only objective truth and to be inherently suspicious towards a global cultural narrative or meta-narrative. Postmodernist thought is an intentional departure from the...
. They state that "in a general sense, postmodern theories, and following them, cultural studies
Cultural studies
Cultural studies is an academic field grounded in critical theory and literary criticism. It generally concerns the political nature of contemporary culture, as well as its historical foundations, conflicts, and defining traits. It is, to this extent, largely distinguished from cultural...
, 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. They believe that composition should be undertaken as a problem solving activity rather than demonstration of original ideas.
Assemblage and Remix
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 filmFilm
A film, also called a movie or motion picture, is a series of still or moving images. It is produced by recording photographic images with cameras, or by creating images using animation techniques or visual effects...
and literature
Literature
Literature is the art of written works, and is not bound to published sources...
. Johnson-Eilola and Selber claim that remix "can aid invention, leverage 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 legal
Copyright
Copyright is a legal concept, enacted by most governments, giving the creator of an original work exclusive rights to it, usually for a limited time...
issues, the authors acknowledge that remix is nevertheless becoming an increasingly common creative form. Assemblage and remix are also related to articulation
Articulation (sociology)
In sociology, articulation labels the process by which particular classes appropriate cultural forms and practices for their own use. The term appears to have originated from the work of Antonio Gramsci, specifically from his conception of superstructure...
. The sociological practice of articulation, as described by Antonio Gramsci
Antonio Gramsci
Antonio Gramsci was an Italian writer, politician, political philosopher, and linguist. He was a founding member and onetime leader of the Communist Party of Italy and was imprisoned by Benito Mussolini's Fascist regime...
and Stuart Hall
Stuart Hall
-People:*Stuart Hall , British radio and television presenter*Stuart Hall , British cultural theorist and first editor of the New Left Review...
, among others, refers to the appropriation
Appropriation (sociology)
Appropriation in sociology is, according to James J. Sosnoski, "the assimilation of concepts into a governing framework...[the] arrogation, confiscation, [or] seizure of concepts." According to Tracy B Strong it contains the Latin root proprius, which, "carries the connotations not only of...
of elements of culture
Culture
Culture is a term that has many different inter-related meanings. For example, in 1952, Alfred Kroeber and Clyde Kluckhohn compiled a list of 164 definitions of "culture" in Culture: A Critical Review of Concepts and Definitions...
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.
Assemblage and Plagiarism
A central characteristic of assemblages is the challenge to established notions of originalityOriginality
Originality is the aspect of created or invented works by as being new or novel, and thus can be distinguished from reproductions, clones, forgeries, or derivative works....
. The traditional distinction between original and plagiarized
Plagiarism
Plagiarism is defined in dictionaries as the "wrongful appropriation," "close imitation," or "purloining and publication" of another author's "language, thoughts, ideas, or expressions," and the representation of them as one's own original work, but the notion remains problematic with nebulous...
material maintains that not only is original work superior in terms of creative effort, but that it is not derivative
Derivative work
In United States copyright law, a derivative work is an expressive creation that includes major, copyright-protected elements of an original, previously created first work .-Definition:...
. Johnson-Eilola and Selber claim 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 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." The authors assert that despite shifting attitudes in academia
Academia
Academia is the community of students and scholars engaged in higher education and research.-Etymology:The word comes from the akademeia in ancient Greece. Outside the city walls of Athens, the gymnasium was made famous by Plato as a center of learning...
, 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 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. Johnson-Eilola and Selber refer to a 1993 article by Rebecca Moore Howard on "patchwriting," 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 considered useful for learning how to communicate within expert discourse. Johson-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 collage
Collage
A collage is a work of formal art, primarily in the visual arts, made from an assemblage of different forms, thus creating a new whole....
.
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. 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 authors believe that this system 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."
In support for their argument against the traditional view 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 situation. They also acknowledge a presentation given by James Porter in 2006 at CCCC
Conference on College Composition and Communication
The Conference on College Composition and Communication is a national professional association of college and university writing instructors in the USA. Formed in 1949 as an organization within the National Council of Teachers of English, CCCC currently has about 7000 members...
. 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 boilerplate
Boilerplate (text)
Boilerplate is any text that is or can be reused in new contexts or applications without being changed much from the original. Many computer programmers often use the term boilerplate code. A legal boilerplate is a standard provision in a contract....
text for administrative documents, and failing to acknowledge the bibliographic
Bibliography
Bibliography , as a practice, is the academic study of books as physical, cultural objects; in this sense, it is also known as bibliology...
work of others."
Examples
Paradox 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.See also
- RemixRemixA remix is an alternative version of a recorded song, made from an original version. This term is also used for any alterations of media other than song ....
- Remix (book)Remix (book)Remix: Making Art and Commerce Thrive in the Hybrid Economy is Lawrence Lessig's fifth book. It is available as a free download under a Creative Commons license...
- CollageCollageA collage is a work of formal art, primarily in the visual arts, made from an assemblage of different forms, thus creating a new whole....
- Sampling (music)Sampling (music)In music, sampling is the act of taking a portion, or sample, of one sound recording and reusing it as an instrument or a different sound recording of a song or piece. Sampling was originally developed by experimental musicians working with musique concrète and electroacoustic music, who physically...
- Appropriation (art)Appropriation (art)Appropriation is a fundamental aspect in the history of the arts . Appropriation can be understood as "the use of borrowed elements in the creation of a new work."...
- Cut-up techniqueCut-up techniqueThe cut-up technique is an aleatory literary technique in which a text is cut up and rearranged to create a new text. Most commonly, cut-ups are used to offer a non-linear alternative to traditional reading and writing....