Notices tagged with plagiarism

Notices

  1. dee dee

    # ----- From Nick Carbone posted to WPA-L _The New Inquiry_, "The History of Dialogue: Other People’s Papers" This is a dialogue between Teach, an adjunct philosophy instructor at a public university in New York, and Cheat, who has authored over 100 papers for pay. http://thenewinquiry.com/post/6797940267/the-history-of-dialogue-other-peoples-papers

    about 8 months ago from web
  2. dee dee

    # # # # # ----- Everything is a Remix Nick Carbone, from email to WPA-L show details 10:38 AM http://www.everythingisaremix.info/watch-the-series/ Or, for discrete links to pieces: Everything is a Remix, Part 1: http://www.everythingisaremix.info/everything-is-a-remix-part-1/ http://vimeo.com/14912890 Everything is a Remix, Part 2: http://www.everythingisaremix.info/everything-is-a-remix-part-2/ Everything is a Remix, Part 3: http://www.everythingisaremix.info/everything-is-a-remix-part-3/ The series explores Remix by remixing. It's by Kirby Ferguson The blog, http://www.everythingisaremix.info/ lists transcripts and sampling credits and notes on the productions of the three videos (fourth coming this fall). It's really a documentary on the concept of Remix. Very useful resource if you're teaching remix, new media concepts, technology, and so on. -- http://ncarbone.blogspot.com/TeachingWriting/

    about 8 months ago from web
  3. dee dee

    # # ----- What are the ethics of poetic appropriation? BY ABE LOUISE YOUNG A volunteer with Alive in Truth listens to Katrina evacuee Clarice B. tell her story in September 2005, outside the Austin Convention Center. Photo: Abe Louise Young On the five-year anniversary of Hurricane Katrina, we heard from two poets who describe how primary sources from the disaster can and should be used for art. This is Part I. Read Part II: Reflections on found poetry and the creative process. * * * When I launched Alive in Truth: The New Orleans Disaster Oral History and Memory Project in the week after Hurricane Katrina hit, my goal was to help restore authorship and narrative control to people who had been assaulted by media images of themselves as criminals. I had a vague idea that one day I might work these testimonies into a book of poetry—I had just graduated from the Michener Center for Writers with an MFA in poetry—but that notion was quickly discarded, in part because none of the narrators liked it. Rightfully, they wanted to be the authors, and they wanted their narratives published in full. The Voices of Hurricane Katrina, Part II By Raymond McDaniel Reflections on found poetry and the creative process. I’m a New Orleans native, social justice activist, and poet, and I recently found Raymond McDaniels’s book Saltwater Empire by chance. Reading through it, I found that I already knew the sentences, stories, and voices in much of this book by heart, yet I’d never heard of McDaniel. Neither had the Katrina survivors whose words he used in his long poem “Convention Centers of the New World.” McDaniel, winner of the National Poetry Series competition, visited the website of Alive in Truth: The New Orleans Disaster Oral History and Memory Project and had an unfortunate idea. He decided to use the personal histories of six African American Katrina survivors as “found poetry”—stripped of names and context, and combined with one another—as the centerpiece poem of Saltwater Empire, without contacting the project or the survivors. He chose the voices of five women and one man, whose oral histories are delivered in the distinctive dialects of New Orleans’s lost black neighborhoods. He changed the order of events, titled it “Convention Centers of the New World,” and published it as a 19-page, six-part poem. ..... ----- http://www.poetryfoundation.org/journal/article.html?id=239906

    Friday, 20-Aug-10 10:18:07 EDT from web