Digital Griots (2)

Banks looks to use the concept of remix to integrate stories of African American's historical past into the modern day.  There is a schism between young and old generations of African Americans.  One side looks to be reminiscent of the past.  The other, looks to embrace the future.  The major criticism young African Americans receive is that they are not connected to their pasts.  However, the very artistic portrayals of poetry jams and rap battles trace their roots back to oral traditions in which individuals shared their experiences through the spoken word.  By utilizing such creative expressions, and making connections to one's past, the narratives of the future will look to a new path.  It is essentially an evolution of thought.  The need to preserve one's history is still possible if one still remains primarily in the present, while incorporating a personal history.  Therefore, one's identity is maintained, while layers are added to forge new narratives that have the potential to be just as influential as the past we look to now.   

I believe this is how some individuals become creative.  They look to past innovations and ideas, and then either build off of what they have experienced, or take the idea a part and visualize another concept.  This is how past traditions have the chance to live, and how new ideas are created.  No one argues that making air travel safer and much more effective should be explored.  Engineers look to the past as they build off what they know to create a modern technology for today.  As a result, we have technology that has improved our lives.  In the same light, why should one be so resistant to new forms of art and expression, just because it's new?  As long as one looks and acknowledges the impact historical contexts have in the creative process, then fresh expressions should not be looked down upon by older generations.

Question:

What are we sacrificing when we attempt to remix?             

Digital Griots

Adam Banks' Digital Griots brings to light the issue of African American storytelling through a digital medium.  Traditions that run throughout the African American community are explored, which allow composition instructors to understand the culture at hand.  In turn, this practice has the potential to improve instruction in the classroom, specifically for African American students who struggle to identify with images that do not represent them. 

As Banks states in the following quote, he is concerned with the complete realm of griots that function to represent the African American community.       

While I'm not one to have a problem with a creative video game, I'm interested in far  more than simply the isolated techniques of scratching on a turntable or hitting a  cross-fader-for me, it is the wide range of cultural practices, multiple literacies,  rhetorical mastery, and knowledge of traditions that DJs in black traditions represent that make them griots, link them to other griotic figures, and offer a model for writing that thoroughly weaves together oral performance, print literacy, mastery and interrogation of technologies, and technologies that can lead to a renewed vision for both composition and African American rhetoric (13). 

As cultural traditions are represented through mediums of technology, theories of pedagogical practice are thus formed to include those who may be left out of the traditional classroom.  Banks mentions an important point when stating that he's more interested in the rhetorical practices of those constructing remixes.  By incorporating African American individuals who have made creative works into the classroom, students can thus see themselves in their own writing. 

One aspect of a griot is that of a storyteller. One that expresses oral traditions by memorizing stories to share amongst a sizable crowd.  One way this is still seen through the digital medium is via Def Poetry, also known as Russell Simmons Presents Def Poetry Jam.  The show featured both famous and lesser known spoken word poets.  The majority of the poets were African American.  This show allowed individuals to express themselves freely on television through the use of poetry.  The style of poetry was different from that of other forms, which shed further light on African American rhetoric. The poetry that the audience heard and saw was unique to the African American experience.  Poets presented issues of race, class, poverty, economics, and gender to a world-wide audience.  Their voices were thus heard and appreciated by a television medium that did not have such programming that predominately included African Americans, since the inception of this show.  This program explored the power of the spoken word, which relates back to the traditional griot, but in a modern digital world where millions could share in the experience.     

In a similar way, freestyle rap has also emerged onto the digital scene, which also holds a historical tradition, specifically with the original griots. Freestyle rap allows musicians to rhythmically put together lyrics off the top of their heads, otherwise known as improvisation.  Individuals who partake in such an activity express themselves through rhymes that paint various pictures of personal stories of one's past.  It is poetry in motion, and those who practice in the medium have the opportunity to express themselves freely, while making a connection to the past.  In the classroom, if students are taught the conventions of poetry, and then allowed to put theory into practice through freestyle rap, instructors receive a firsthand acknowledgement of their poetry lesson at hand. In order for a student to learn, being able to relate to the matter will help during any instructional lesson. 

Question:

Is the practice of creation democratized if certain individuals in society don't have access to devices to create with the use of technology?       

Remix presents a conflict between creative expression and copyright law.  The right to create and incorporate work that has already been produced is an issue that concerns both executives involved in receiving financial gains, and the artists who wish to protect their art. 

John Philip Sousa argued that being an inactive listener would crush creative pursuits by individuals.  He believed that by simply listening, or becoming a part of the "Read-Only" (RO) culture, the practice of any art-form would dissipate.  Without closely studying the intricacies of musical technique, people would lose out of touch with creative expression.  Sousa's argument proclaims that in order to be creative, one must be active and not passive.  This statement remains to be true, but one can also participate in actively creating by first submerging oneself into the art of another.  Inspiration and influence must be triggered by some force, and it may come in the form of another work.  Many artists must first look to other sources for their creative ideas.  For example, Martin Cooper, the director of research and development at Motorola, credited the Star Trek communicator as his inspiration for the first cell-phone.  In another example, physicist Leo Szilard read H.G. Wells' The World Set Free, in which he first received the notion about atomic energy and to solve the problem of creating a nuclear chain reaction.  This eventually led him to push for arms control and the peaceful use of nuclear power after WWII.  These examples prove that listening/watching is not a passive act.  Lessig too argues the same point, and states that both being a listener and an actor involve acts of creativity. 

However, in order to add to an original work, the technologies of the 20th century prevented individuals from contributing in such a manner.  Individuals could only read,watch or listen to a work, but not add to it.  The Internet has stepped in and changed this model of creativity.  This can be seen through the work of Girl Talk.  Also, the work of Candice Breitz in which she had several of John Lennon's fans sing his songs is another example of how technology has changed the way creative ventures are pursued.  However, this work in particular was questioned by some, and required her to get special permission.  In a similar fashion, Eric Whitacre, the creator of the digital choir produced an original work in which he pulled in 185 different voices to sing an original piece that he wrote.  This required individuals to send in videos of themselves singing in various octaves of the song Whitacre wrote.  Whitacre then assembled these voices together and created the song.  The difference between Breitz and Whitacre is that Whitacre wrote an original piece, whereas Breitz used the work of an established artist.  Whitacre's practice of combining different voices to create a single song is an excellent example of inc operating technology and talent.  All of the participants were a part of one choir.  This example provides a stark contrast with the work of Girl Talk and other artists who use the content of other talent.  Whitacre put together various voices into one song, much like what mash-up artists do, but his own original work. 

Question:

Should amateurs who wish to participate in mash-up culture be held accountable if they choose to produce work of their own, even if they don't gain any financial benefits?       

   

Arguments of invention and whether it is an individual act or a collaborative one are discussed within Invention as a Social Act.  As Plato has stated, original ideas can only exist within the realms of reality if only explored inside the individual. According to the individualist, invention is a private act, brought about through introspection.  Upon unfolding one's inner being, the ideas, feelings and one's true voice emerges.  This is a traditional mode of thought, as many writers in history and teachers think of writing to be an isolated action.  

The counter side of this argument proclaims that invention is a social act.  Creative thought is influenced by work that has come before, and to create a new work, one cannot completely isolate themselves from what has been already established.  Therefore, whether it is intentional or not, an "original" work will be influenced by either work that has come before it, or through the countless number of revisions and suggested additions made by trusted peers.  

It is my belief that invention functions as a dual personality.  The creative process may begin as a sole venture but can quickly turn into a collaborative activity. This idea can be seen through the English language.  Historically, the English language came about through the integration of several languages and dialects.  These languages were brought by Germanic settlers that came into England.  In addition, a fair amount of words are rooted in Latin, due to the fact that Latin was the lingua franca of the Christian Church.  English was then influenced by the Old Norse language brought in by the Vikings.  The greatest influence the English language experienced was during the Norman invasion in 1066.  This invasion gave rise to Norman-French vocabulary, spelling and grammar conventions were utilized  in English.  Anglo-Norman, a dialect spoken in northern France introduced a mass amount of French words in the English language.  As we further investigate this phenomenon, we see that English is the most linguistically diverse language in the world.  English has influences from Arabic, Hindi, Greek, Latin, French and Germanic languages.  Such a linguistic impact would not have been possible if not for the global societies that came into contact with one another.  Due to invasions, colonialism, and trading, significant individuals in each culture came together to change the course of a single language.  At times, this interaction was not welcomed, but it definitely occurred.  

In modern times, we see interactive and collaborative efforts taking place on the internet through computer mediated communication (CMC), otherwise known as text language.  CMC first arrived on the scene when individuals wrote in shorthand, but eventually appeared in internet chat rooms. Users abbreviate words to cut down on time.  Expressions like "lol" and "g2g" were created, and thus influenced further creations that have led people to completely abbreviate their sentences when communicating on the internet.  These creations were not the work of one individual, but a group of people.  The work of a few individuals have allowed millions to embrace or reject these expressions.  

Question:

How does collaboration change the individual's original intent?                    

Mary Queen's "Genders and Authors" discusses the important issue of gender and authorship.  She retells a story that concerned a student who would refer to the female author she was reading at the time, as "he".  This story sets-up the narrative behind the article and how the masculine dominant culture has run institutions while largely ignoring the female perspective.  The account given by Queen showcases the deep rooted problems of a male dominant society and through her student, everyday individuals partake and without thought, support a male-oriented society.

I cannot exclaim that I have confused gender pronouns.  Though, I have referred to a group of people which consisted of both males and females as "guys".  I try to avoid such terms, especially in circumstances mentioned afore.  This example should demonstrate how a single term can shade the lines of gender.  As the lines of gender are diminished, one's identity is also diminished.  I have also heard individuals greet each other by saying "hello people".  This is an overt attempt to generalize one's audience, without noting one gender over another.  Non-gender neutral language exists within daily conversation.  This speaks to the larger idea that masculine attitudes have been imbedded into our thoughts and actions with few people raising it to be a critical issue.          

The reasons for such rhetoric as Queen explains stems from much deeper roots.  "These larger relationships are mediated by historical, economic, political, educational, religious, and social conceptions of authority, which in turn, authorizes the author(s) (102).

Queen mentions the Declaration of Independence and states the importance it carries for colonial America.  Its rhetoric states the integral role that an equal role for all men could have on society.  The faults of such lines appear notably today, but these words are only reflecting a time period that agreed upon certain attitudes not commonly shared as they once were.  Queen continues to describe how authorship has been shaped and modeled by white-male individuals.  These ideals have not only influenced the thought process of future writers, but also young minds who wish to learn and appreciate literature.  It is these ideals that have allowed individuals to unintentionally view the texts from a male lens.

As most people read texts, their relationship with the author is non-existent.  They do not correlate the story with the author, and therefore the shape of the conversation regarding the text does not include one shaped by the author.  This point is crucial, for individuals who wish to examine a text, cannot thoroughly do so without also considering the role the author has had in shaping the story, along with what the author considers to be the essential points behind the text.  This allows for a deeper understanding and appreciation for the text.  The counter point of course would be Barthes; as an author publishes their work, they are no longer relevant to that particular piece.  Though, when taking gender into perspective, an author's background and life experiences should be noted.  Especially, if one has struggled to tell their story because of their race, gender and/or economic background.  Furthermore, a study on pure minority writers would only support the notion of the struggles a certain group has faced.  Therefore, a study of a mixed group of texts might better represent the situation better by demonstrating that the white, male orientated perspective has overpowered all other perspectives in a historical point of view.      


After reading a particular text, does viewing it from a feminist point of view change the significance of the text?

Collaborative Group Work

The task of writing and the assumption that it is either a solitary and/or a colloborative effort are explored in part two of the book Writing Together, entitled "On Collaboration".   Though, the latter is examined thoroughly as questions of how often and in what capacity does coauthorship take place?

According to Lunsford and Ede's initial results, participants in their study viewed the process of writing as a solo and/or collaborative act.  Some individuals perceived writing as strictly a solitary venture, despite exerting energy "...on the mental and procedural activities which precede and co-occur with the act of writing, as well as on the construction of the text" (71).

The researchers continue to establish the modes of collaborative work by distinguishing among members who plan, draft and then compile as a group.  Another option includes a single person drafts, it is then given to another person who then looks it over.  The final option features an individual who directs writing tasks, as each member figures out their own duties, and then one person compiles the information together.      

The discussion at hand looks to confirm if collaborative work is not only productive but a useful tool in assessing one's writing.  Further discussion includes but is not limited to creating a complete document for the group's intended users.  The benefits of group work is weighed out against the disadvantages of non-collaborative work.   As noted by some of the professionals interviewed, most individuals prefer to work in a colloborative environment.  This is due to the conscious effort that the writer puts in towards not only their audience, but also the one's they work with in a group setting.  As the first drafts are set in place, ideas are expressed openly in a constructive environment.  Group members look to everyone's input, and thus all ideas are tapped into, and only the best are expressed in the document.  More perspectives are essential in order for all important issues to be addressed within a piece of work.  Along with this, in order for group work to be productive, motivation is a key factor for optimal participation.  If an group member's ideas are acknowledged and appreciated, then one receives value for their own work and input.  In addition, there are checks and balances that allow individuals to overcome their inabilities when writing.  When there are more heads involved, this will naturally reduce the amount of errors within the document.  It can also lead to a more clearer document when involving different scopes of people.

The disadvantages are outnumbered by the advantages of group work.  Varying styles and writing abilities are issues of concern when working in a group.  People must manage these styles and ensure that they are producing a fluid, coherent document.  Along with this issue, a sense of ownership is lost when sharing credit for a document.

I am writing in this blog alone, but my thoughts and ideas have been influenced by the reading I have done for this class.  As I submit this blog, it might be commented on and critiqued for further evaluation of my arguments.  This will then improve my blog, along with my writing skills because of the feedback I receive in return.   Thus providing another argument for collaborative group.

Question:

Are there any other limitations or disadvantages to working in a collaborative group other than the ones expressed by Lunsford and Ede?          

Milton's Contract - VMathew

1.      
The discussion of the author and how to properly define such a role continues in “Milton’s Contract”.  Lindenbaum introduces the topic of authorship through the works of Ben Jonson.  Jonson fit the model of an author as he edited his own writing and established his presence within his own work.  Lindenbaum transitions over to John Milton and in a similar manner, is qualified to be the ideal author.  Milton is a substantial author, according to the relevance of his work and those who followed his texts.  Though, the importance of an author can be related to or even defined by their relationship with their publisher.  Milton influenced the course of his reputation along with the reverence of his work upon “…entering into a formal contract with printer Samuel Simmons for the publication of Paradise Lost” (176).

Documented evidence would suggest that the contract itself is considered to be one of the earliest agreements between an author and a publisher.  The stated contract entailed Milton “…to receive five pounds immediately, an additional five pounds at the end of the first edition (that edition or impression considered to be completed when 1300 copies had been sold off to “particular reading Customers”), and then five more pounds at the end of each of each of the second and third impressions (these, too, considered to be completed when 1300 copies were sold)”(177).  Furthermore, Milton “could demand an accounting of sales at reasonable intervals” (179).  Beyond that, the contract required that none of the three editions were  to extend to 1500 copies.  In turn, Milton gave over to Simmons “All that Booke Copy or Manuscript”.  Milton also agreed not to print the book or manuscript without the strict permission of Simmons. 

The contract would imply that Milton was unjustifiably shortchanged for his work.  Other authors of the time were compensated much more generously than Milton.  Richard Baster for his work Saint’s Everlasting Rest accumulated 170 pounds.  Though, the counter argument for Milton’s supposed defilement is the limitation of 1500 copies on each impression.  This stipulation was set in place to protect Milton and made sure that “Simmons’ profits would not increase inordinately in relation to the amounts Milton was to receive” (179).   Simmons was by no means a greedy man.  It is pertinent to mention the fact that Simmons produced unacknowledged works and did so for 18 years.      

Milton stands far beyond any author of his time in due respect to his contract with Simmons.  “For that alone we see an author an author who is fully acknowledging the condition of authorship , viewing himself as the possessor of property gives him definite rights…”(180)  Because of this, Milton is said to be the first professional modern author.

The terms of the contract do not overtly reveal how authors behaved in relation to their rights.  This contract will of course stir up debate of the significance of the author and the relations an author has with their publisher.  This in turn will bring up arguments for where the author stands juxtaposed to copyright law.    

Questions:

How have author's rights changed throughout the centuries into modern day?