528 lines
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528 lines
29 KiB
Plaintext
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THE ELECTRONIC DISTURBANCE
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Critical Art Ensemble
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Part 5 of 7
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Published by Autonomedia
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ISBN 1-57027-006-6
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=================================================================
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%Body without Organs% (second manifestation)
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BwO NOW.
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BwO NOW.
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BwO NOW.
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Imperfect flesh is the foundation of screenal economy. The
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frenzy of the screenal sign oscillates between perfection
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and excess, production and counter-production, panic and
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hysteria. Screenal space inscribes the flesh as the abject.
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The screenal space seduces the flesh into the abyss of the
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surface. The electronic body is the perfect body. The
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Electronic body is the body without organs positioned in its
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screenal space. It is both self and mirrored self. The
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electronic body is the complete body. The body without
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organs does not decay. The electronic body does not need
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the plastic surgeon's scalpel, liposuction, make-up, or
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deodorant. It is a body without organs which cannot suffer,
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not physiologically, not psychologically, not
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sociologically; it is not conscious of separation. The
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electronic body seduces those who see it into the bliss of
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counter-production by offering the hope of a bodily unity
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that transcends consumption. But the poor, pathetic,
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organic body is always in a state of becoming. If it
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consumed just one more product, perhaps it might become
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whole, perhaps it too could become a body without organs
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existing in electronic space.
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The electronic body oscillates between panic perfection and
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hysterical aphanisis. The electronic body inscribes the
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flesh as the abject. At any moment the organic body could
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fracture and its surface could decay with sickness, ooze and
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squirt anti-social fluids. The electronic body has shown
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%ad nauseam% that the spilling of guts, the projecting of
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vomit, the splitting of skin, the eruption of pus, or any
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sign of the organic in screenal space exists there only to
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instill fear, contempt, and embarrassment.
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BwO dreams of a body that never existed.
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BwO dreams of a body that never existed.
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BwO dreams of a body that never existed.
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BwO NOW.
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=================================================================
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Chapter 5 ]]> Utopian Plagiarism, Hypertextuality,
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and Electronic Cultural Production
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Plagiarism has long been considered an evil in the cultural
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world. Typically it has been viewed as the theft of
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language, ideas, and images by the less than talented, often
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for the enhancement of personal fortune or prestige. Yet,
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like most mythologies, the myth of plagiarism is easily
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inverted. Perhaps it is those who support the legislation
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of representation and the privatization of language that are
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suspect; perhaps the plagiarist's actions, given a specific
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set of social conditions, are the ones contributing most to
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cultural enrichment. Prior to the Enlightenment, plagiarism
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was useful in aiding the distribution of ideas. An English
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poet could appropriate and translate a sonnet from Petrarch
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and call it his own. In accordance with the classical
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aesthetic of art as imitation, this was a perfectly
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acceptable practice. The real value of this activity rested
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less in the reinforcement of classical aesthetics than in
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the distribution of work to areas where otherwise it
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probably would not have appeared. The works of English
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plagiarists, such as Chaucer, Shakespeare, Spenser, Sterne,
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Coleridge, and De Quincey, are still a vital part of the
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English heritage, and remain in the literary canon to this
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day.
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At present, new conditions have emerged that once again make
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plagiarism an acceptable, even crucial strategy for textual
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production. This is the age of the recombinant:
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recombinant bodies, recombinant gender, recombinant texts,
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recombinant culture. Looking back through the privileged
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frame of hindsight, one can argue that the recombinant has
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always been key in the development of meaning and invention;
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recent extraordinary advances in electronic technology have
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called attention to the recombinant both in theory and in
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practice (for example, the use of morphing in video and
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film). The primary value of all electronic technology,
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especially computers and imaging systems, is the startling
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speed at which they can transmit information in both raw and
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refined forms. As information flows at a high velocity
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through the electronic networks, disparate and sometimes
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incommensurable systems of meaning intersect, with both
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enlightening and inventive consequences. In a society
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dominated by a "knowledge" explosion, exploring the
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possibilities of meaning in that which already exists is
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more pressing than adding redundant information (even if it
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is produced using the methodology and metaphysic of the
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"original"). In the past, arguments in favor of plagiarism
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were limited to showing its use in resisting the
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privatization of culture that serves the needs and desires
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of the power elite. Today one can argue that plagiarism is
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acceptable, even inevitable, given the nature of postmodern
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existence with its techno-infrastructure. In a recombinant
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culture, plagiarism is productive, although we need not
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abandon the romantic model of cultural production which
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privileges a model of %ex nihilo% creation. Certainly in a
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general sense the latter model is somewhat anachronistic.
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There are still specific situations where such thinking is
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useful, and one can never be sure when it could become
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appropriate again. What is called for is an end to its
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tyranny and to its institutionalized cultural bigotry. This
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is a call to open the cultural data base, to let everyone
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use the technology of textual production to its maximum
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potential.
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Ideas improve. The meaning of words participates in
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the improvement. Plagiarism is necessary. Progress
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implies it. It embraces an author's phrase, makes use
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of his expressions, erases a false idea, and replaces
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it with the right idea. (1)
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Plagiarism often carries a weight of negative connotations
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(particularly in the bureaucratic class); while the need for
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its use has increased over the century, plagiarism itself
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has been camouflaged in a new lexicon by those desiring to
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explore the practice as method and as a legitimized form of
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cultural discourse. Readymades, collage, found art or found
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text, intertexts, combines, detournement, and appropriation-
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-all these terms represent explorations in plagiarism.
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Indeed, these terms are not perfectly synonymous, but they
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all intersect a set of meanings primary to the philosophy
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and activity of plagiarism. Philosophically, they all stand
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in opposition to essentialist doctrines of the text: They
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all assume that no structure within a given text provides a
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universal and necessary meaning. No work of art of
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philosophy exhausts itself in itself alone, in its being-in-
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itself. Such works have always stood in relation to the
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actual life-process of society from which they have
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distinguished themselves. Enlightenment essentialism failed
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to provide a unit of analysis that could act as a basis of
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meaning. Just as the connection between a signifier and its
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referent is arbitrary, the unit of meaning used for any
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given textual analysis is also arbitrary. Roland Barthes'
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notion of the lexia primarily indicates surrender in the
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search for a basic unit of meaning. Since language was the
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only tool available for the development of metalanguage,
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such a project was doomed from its inception. It was much
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like trying to eat soup with soup. The text itself is
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fluid--although the language game of ideology can provide
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the illusion of stability, creating blockage by manipulating
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the unacknowledged assumptions of everyday life.
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Consequently, one of the main goals of the plagiarist is to
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restore the dynamic and unstable drift of meaning, by
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appropriating and recombining fragments of culture. In this
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way, meanings can be produced that were not previously
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associated with an object or a given set of objects.
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Marcel Duchamp, one of the first to understand the power of
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recombination, presented an early incarnation of this new
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aesthetic with his readymade series. Duchamp took objects
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to which he was "visually indifferent," and recontextualized
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them in a manner that shifted their meaning. For example,
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by taking a urinal out of the rest room, signing it, and
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placing it on a pedestal in an art gallery, meaning slid
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away from the apparently exhaustive functional
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interpretation of the object. Although this meaning did not
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completely disappear, it was placed in harsh juxtaposition
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to another possibility--meaning as an art object. This
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problem of instability increased when problems of origin
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were raised: The object was not made by an artist, but by a
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machine. Whether or not the viewer chose to accept other
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possibilities for interpreting the function of the artist
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and the authenticity of the art object, the urinal in a
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gallery instigated a moment of uncertainty and reassessment.
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This conceptual game has been replayed numerous times over
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the 20th century, at times for very narrow purposes, as with
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Rauschenberg's combines--done for the sake of attacking the
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critical hegemony of Clement Greenberg--while at other times
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it has been done to promote large-scale political and
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cultural restructuring, as in the case of the Situationists.
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In each case, the plagiarist works to open meaning through
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the injection of scepticism into the culture-text.
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Here one also sees the failure of Romantic essentialism.
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Even the alleged transcendental object cannot escape the
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sceptics' critique. Duchamp's notion of the inverted
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readymade (turning a Rembrandt painting into an ironing
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board) suggested that the distinguished art object draws its
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power from a historical legitimation process firmly rooted
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in the institutions of western culture, and not from being
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an unalterable conduit to transcendental realms. This is
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not to deny the possibility of transcendental experience,
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but only to say that if it does exist, it is prelinguistic,
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and thereby relegated to the privacy of an individual's
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subjectivity. A society with a complex division of labor
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requires a rationalization of institutional processes, a
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situation which in turn robs the individual of a way to
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share nonrational experience. Unlike societies with a
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simple division of labor, in which the experience of one
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member closely resembles the experience of another (minimal
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alienation), under a complex division of labor, the life
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experience of the individual turned specialist holds little
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in common with other specialists. Consequently,
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communication exists primarily as an instrumental function.
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Plagiarism has historically stood against the privileging of
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any text through spiritual, scientific, or other
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legitimatizing myths. The plagiarist sees all objects as
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equal, and thereby horizontalizes the plane of phenomena.
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All texts become potentially usable and reusable. Herein
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lies an epistemology of anarchy, according to which the
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plagiarist argues that if science, religion, or any other
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social institution precludes certainty beyond the realm of
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the private, then it is best to endow consciousness with as
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many categories of interpretation as possible. The tyranny
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of paradigms may have some useful consequences (such as
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greater efficiency within the paradigm), but the repressive
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costs to the individual (excluding other modes of thinking
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and reducing the possibility of invention) are too high.
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Rather than being led by sequences of signs, one should
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instead drift through them, choosing the interpretation best
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suited to the social conditions of a given situation.
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It is a matter of throwing together various cut-up
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techniques in order to respond to the omnipresence of
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transmitters feeding us with their dead discourses
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(mass media, publicity, etc.). It is a question of
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unchaining the codes--not the subject anymore--so that
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something will burst out, will escape; words beneath
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words, personal obsessions. Another kind of word is
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born which escapes from the totalitarianism of the
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media but retains their power, and turns it against
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their old masters.
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Cultural production, literary or otherwise, has traditionally
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been a slow, labor-intensive process. In painting,
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sculpture, or written work, the technology has always been
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primitive by contemporary standards. Paintbrushes, hammers
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and chisels, quills and paper, and even the printing press
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do not lend themselves well to rapid production and broad-
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range distribution. The time lapse between production and
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distribution can seem unbearably long. Book arts and
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traditional visual arts still suffer tremendously from this
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problem, when compared to the electronic arts. Before
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electronic technology became dominant, cultural perspectives
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developed in a manner that more clearly defined texts as
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individual works. Cultural fragments appeared in their won
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right as discrete units, since their influence moved slowly
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enough to allow the orderly evolution of an argument or an
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aesthetic. Boundaries could be maintained between
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discipline and schools of thought. Knowledge was considered
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finite, and was therefore easier to control. In the 19th
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century this traditional order began to collapse as new
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technology began to increase the velocity of cultural
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development. The first strong indicators began to appear
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that speed was becoming a crucial issue. Knowledge was
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shifting away from certitude, and transforming itself into
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information. During the American Civil War, Lincoln sat
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impatiently by his telegraph line, awaiting reports from his
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generals at the front. He had no patience with the long-
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winded rhetoric of the past, and demanded from his generals
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an efficient economy of language. There was no time for the
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traditional trappings of the elegant essayist. Cultural
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velocity and information have continued to increase at a
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geometric rate since then, resulting in an information
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panic. Production and distribution of information (or any
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other product) must be immediate; there can be no lag time
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between the two. Techno-culture has met this demand with
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data bases and electronic networks that rapidly move any
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type of information.
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Under such conditions, plagiarism fulfills the requirements
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of economy of representation, without stifling invention.
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If invention occurs when a new perception or idea is brought
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out--by intersecting two or more formally disparate systems-
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-then recombinant methodologies are desirable. This is
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where plagiarism progresses beyond nihilism. It does not
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simply interject scepticism to help destroy totalitarian
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systems that stop invention; it participates in invention,
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and is thereby also productive. The genius of an inventor
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like Leonardo da Vinci lay in his ability to recombine the
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then separate systems of biology, mathematics, engineering,
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and art. He was not so much an originator as a synthesizer.
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There have been few people like him over the centuries,
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because the ability to hold that much data in one's own
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biological memory is rare. Now, however, the technology of
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recombination is available in the computer. The problem now
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for would-be cultural producers is to gain access to this
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technology and information. After all, access is the most
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precious of all privileges, and is therefore strictly
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guarded, which in turn makes one wonder whether to be a
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successful plagiarist, one must also be a successful hacker.
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Most serious writers refuse to make themselves
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available to the things that technology is doing. I
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have never been able to understand this sort of fear.
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Many are afraid of using tape recorders, and the idea
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of using any electronic means for literary or artistic
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purposes seems to them some sort of sacrilege.
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To some small degree, a small portion of technology has fallen
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through the cracks into the hands of the lucky few.
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Personal computers and video cameras are the best examples.
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To accompany these consumer items and make their use more
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versatile, hypertextual and image sampling programs have
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also been developed--program designed to facilitate
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recombination. It is the plagiarist's dream to be able to
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call up, move, and recombine text with simple user-friendly
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commands. Perhaps plagiarism rightfully belongs to post-
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book culture, since only in that society can it be made
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explicit what book culture, with its geniuses and auteurs,
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tends to hide--that information is most useful when it
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interacts with other information, rather than when it is
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deified and presented in a vacuum.
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Thinking about a new means for recombining information has
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always been on 20th-century minds, although this search has
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been left to a few until recently. In 1945 Vannevar Bush, a
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former science advisor to Franklin D. Roosevelt, proposed a
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new way of organizing information in an _Atlantic Monthly_
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article. At that time, computer technology was in its
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earliest stages of development and its full potential was
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not really understood. Bush, however, had the foresight to
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imagine a device he called the Memex. In his view it would
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be based around storage of information on microfilm,
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integrated with some means to allow the user to select and
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display any section at will, thus enabling one to move
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freely among previously unrelated increments of information.
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At the time, Bush's Memex could not be built, but as
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computer technology evolved, his idea eventually gained
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practicality. Around 1960 Theodor Nelson made the
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realization when he began studying computer programming in
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college:
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Over a period of months, I came to realize that,
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although programmers structured their data
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hierarchically, they didn't have to. I began to see
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the computer as the ideal place for making
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interconnections among things accessible to people.
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I realized that writing did not have to be sequential
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and that not only would tomorrow's books and magazines
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be on [cathode ray terminal] screens, they could all
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tie to one another in every direction. At once I began
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working on a program (written in 7090 assembler
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language) to carry out these ideas.
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Nelson's idea, which he called hypertext, failed to attract
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any supporters at first, although by 1968 its usefulness
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became obvious to some in the government and in defense
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industries. A prototype of hypertext was developed by
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another computer innovator, Douglas Englebart, who is often
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credited with many breakthroughs in the use of computers
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(such as the development of the Macintosh interface,
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Windows). Englebart's system, called Augment, was applied
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to organizing the government's research network, ARPAnet,
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and was also used by McDonnel Douglas, the defense
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contractor, to aid technical work groups in coordinating
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projects such as aircraft design:
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All communications are automatically added to the
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Augment information base and linked, when appropriate,
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to other documents. An engineer could, for example,
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use Augment to write and deliver electronically a work
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plan to others in the work group. The other members
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could then review the document and have their comments
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linked to the original, eventually creating a "group
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memory" of the decisions made. Augment's powerful
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linking features allow users to find even old
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information quickly, without getting lost or being
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overwhelmed by detail.
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Computer technology continued to be refined, and eventually-
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-as with so many other technological breakthroughs in this
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country--once it had been thoroughly exploited by military
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and intelligence agencies, the technology was released for
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commercial exploitation. Of course, the development of
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microcomputers and consumer-grade technology for personal
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computers led immediately to the need for software which
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would help one cope with the exponential increase in
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information, especially textual information. Probably the
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first humanistic application of hypertext was in the field
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of education. Currently, hypertext and hypermedia (which
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adds graphic images to the network of features which can be
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interconnected) continue to be fixtures in instructional
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design and educational technology.
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An interesting experiment in this regard was instigated in
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1975 by Robert Scholes and Andries Van Dam at Brown
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University. Scholes, a professor of English, was contacted
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by Van Dam, a professor of computer science, who wanted to
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know if there were any courses in the humanities that might
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benefit from using what at the time was called a text-
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editing system (now known as a word processor) with
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hypertext capabilities built in. Scholes and two teaching
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assistants, who formed a research group, were particularly
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impressed by one aspect of hypertext. Using this program
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would make it possible to peruse in a nonlinear fashion all
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the interrelated materials in a text. A hypertext is thus
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best seen as a web of interconnected materials. This
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description suggested that there is a definite parallel
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between the conception of culture-text and that of
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hypertext:
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One of the most important facets of literature (and one
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which also leads to difficulties in interpretation) is
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its reflexive nature. Individual poems constantly
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develop their meanings--often through such means as
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direct allusion or the reworking of traditional motifs
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and conventions, at other times through subtler means,
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such as genre development and expansion or biographical
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reference--by referring to that total body of poetic
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material of which the particular poems comprise a small
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segment.
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Although it was not difficult to accumulate a
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hypertextually-linked data base consisting of poetic
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materials, Scholes and his group were more concerned with
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making it interactive--that is, they wanted to construct a
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"communal text" including not only the poetry, but also
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incorporating the comments and interpretations offered by
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individual students. In this way, each student in turn
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could read a work and attach "notes" to it about his or her
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observations. The resulting "expanded text" would be read
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and augmented at a terminal on which the screen was divided
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into four areas. The student could call up the poem in one
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of the areas (referred to as windows) and call up related
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materials in the other three windows, in any sequence he or
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she desired. This would powerfully reinforce the tendency
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to read in a nonlinear sequence. By the means, each student
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would learn how to read a work as it truly exists, not in "a
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vacuum" but rather as the central point of a progressively-
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revealed body of documents and ideas.
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Hypertext is analogous to other forms of literary discourse
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besides poetry. From the very beginning of its
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manifestation as a computer program, hypertext was popularly
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described as a multidimensional text roughly analogous to
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the standard scholarly article in the humanities or social
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sciences, because it uses the same conceptual devices, such
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as footnotes, annotations, allusions to other works,
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quotations from other works, etc. Unfortunately, the
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convention of linear reading and writing, as well as the
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physical fact of two-dimensional pages and the necessity of
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binding them in only one possible sequence, have always
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limited the true potential of this type of text. One
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problem is that the reader is often forced to search through
|
|
the text (or forced to leave the book and search elsewhere)
|
|
for related information. This is a time-consuming and
|
|
distracting process; instead of being able to move easily
|
|
and instantly among physically remote or inaccessible areas
|
|
of information storage, the reader must cope with cumbrous
|
|
physical impediments to his or her research or creative
|
|
work. With the advent of hypertext, it has become possible
|
|
to move among related areas of information with a speed and
|
|
flexibility that at least approach finally accommodating the
|
|
workings of human intellect, to a degree that books and
|
|
sequential reading cannot possibly allow.
|
|
|
|
The recombinant text in hypertextual form signifies the
|
|
emergence of the perception of textual constellations
|
|
that have always/already gone nova. It is in this
|
|
uncanny luminosity that the authorial biomorph has been
|
|
consumed. (2)
|
|
|
|
Barthes and Foucault may be lauded for theorizing the death of
|
|
the author; the absent author is more a matter of everyday
|
|
life, however, for the technocrat recombining and augmenting
|
|
information at the computer or at a video editing console.
|
|
S/he is living the dream of capitalism that is still being
|
|
refined in the area of manufacture. The Japanese notion of
|
|
"just in time delivery," in which the units of assembly are
|
|
delivered to the assembly line just as they are called for,
|
|
was a first step in streamlining the tasks of assembly. In
|
|
such a system, there is no sedentary capital, but a constant
|
|
flow of raw commodities. The assembled commodity is
|
|
delivered to the distributor precisely at the moment of
|
|
consumer need. This nomadic system eliminates stockpiles of
|
|
goods. (There is still some dead time; however, the
|
|
Japanese have cut it to a matter of hours, and are working
|
|
on reducing it to a matter of minutes). In this way,
|
|
production, distribution, and consumption are imploded into
|
|
a single act, with no beginning or end, just unbroken
|
|
circulation. In the same manner, the online text flows in
|
|
an unbroken stream through the electronic network. There
|
|
can be no place for gaps that mark discrete units in the
|
|
society of speed. Consequently, notions of origin have no
|
|
place in electronic reality. The production of the text
|
|
presupposes its immediate distribution, consumption, and
|
|
revision. All who participate in the network also
|
|
participate in the interpretation and mutation of the
|
|
textual stream. The concept of the author did not so much
|
|
die as it simply ceased to function. The author has become
|
|
an abstract aggregate that cannot be reduced to biology or
|
|
to the psychology of personality. Indeed, such a
|
|
development has apocalyptic connotations--the fear that
|
|
humanity will be lost in the textual stream. Perhaps humans
|
|
are not capable of participating in hypervelocity. One must
|
|
answer that never has there been a time when humans were
|
|
able, one and all, to participate in cultural production.
|
|
Now, at least the potential for cultural democracy is
|
|
greater. The single bio-genius need not act as a stand-in
|
|
for all humanity. The real concern is just the same as it
|
|
has always been: the need for access to cultural resources.
|
|
|
|
The discoveries of postmodern art and criticism
|
|
regarding the analogical structures of images
|
|
demonstrate that when two objects are brought together,
|
|
no matter how far apart their contexts may be, a
|
|
relationship is formed. Restricting oneself to a
|
|
personal relationship of words is no mere convention.
|
|
The bringing together of two independent expressions
|
|
supersedes the original elements and produces a
|
|
synthetic organization of greater possibility. (3)
|
|
|