Jane Goodall blames 'chaotic note taking' for plagiarism controversy | Environment Jane Goodall, British primatologist and conservationist, is famed for her research on the behaviour of chimpanzees. Photograph: Attila Kisbenedek/AFP/Getty Images Leading primatologist Jane Goodall has blamed a "hectic work schedule" and her "chaotic method of note taking" for a plagarism controversy surrounding her reissued book. Speaking ahead of the publication of a revised edition of Seeds of Hope, first published in August 2013, Goodall, said she had learned lessons following reports in the Washington Post last year that at least 12 sections of the book were lifted from other websites including Wikipedia. "I am not methodical enough, I guess," she said in an interview with online magazine Mosaic. Last year an expert asked by the Washington Post to review Seeds of Hope spotted that some passages in the book echoed various other sources. Examples cited by the paper included a sentence on organic farming that also appears on the website Choice Organic Teas, word for word.
Uncreative Writing: Redefining Language and Authorship in the Digital Age by Maria Popova “An updated notion of genius would have to center around one’s mastery of information and its dissemination.” “And your way, is it really YOUR way?,” Henry Miller famously asked. A recent interview on The Awl reminded me of a wonderful book by Kenneth Goldsmith — MoMA’s first poetry laureate, founder of the massive grassroots audio archive Ubu Web, and professor at my alma mater, UPenn’s Kelly Writers House — titled Uncreative Writing: Managing Language in the Digital Age (public library; UK). Goldsmith writes in the introduction: In 1969 the conceptual artist Douglas Huebler wrote, ‘The world is full of objects, more or less interesting; I do not wish to add any more.’ He samples a beautiful concept that broadens our definition of genius: Literary critic Marjorie Perloff has recently begun using the term unoriginal genius to describe this tendency emerging in literature. Goldsmith goes on to examine how technology has sparked a new culture of transformation as authorship:
remixology - bookforum.com / syllabi Nov 29 2011 Judy Lillibridge You're a rare writer if you don't occasionally suspect yourself of plagiarism, of unconsciously stealing phrases from your favorite author or appropriating plot points from books you've read as a child. remixthebook by Mark Amerika A theorist and artist, Amerika takes "source material everywhere" as his mantra, and in remixthebook he weaves together works by everyone from Ralph Waldo Emerson to Stephen Colbert into a quasi-poetic theory of "remixology." Making Is Connecting by David Gauntlett Following Amerika's call, Gauntlett insists that artists must connect "materials, ideas, or both"—remixing them, as it were—to produce something meaningful. Karaoke Culture by Dubravka Ugresic Ugresic riffs on the idea of inserting one's voice where another has come before, and claims that statistically, most contemporary art and literature is made by amateurs. Uncreative Writing: Managing Language in the Digital Age by Kenneth Goldsmith
Life was hard, love was easy In San Miguel, Zambales, 74-year old Magdalena sleeps with her husband Julian under a tent under the stars The Ramelo couple's sleeping quarters. Photo by Carlo Gabuco, 9 Feb 2013. ZAMBALES, Philippines - The tent sits empty. It is empty most of the day, except for the few hours in the afternoon when the village children of San Miguel are let out from school. Then there is singing, the flower opens, the flower closes, sand sprays from a dozen kicking feet, while a ring spins around a giggling brown-cheeked rose. Mostly there is only the tent, and the boats, and the long strip of beach. Julian stands on the beach. Julian and Magdalena. A long time ago, Julian fell in love. Then Julian came along. Magdalena and her Julian. Every night, Julian would come home from sea with the rest of the village men. Life was hard, says Magdalena, but love was easy. She is 74 years old today, her skin is like parchment, but there are blue rhinestones dangling from her ears. Julian is 81 years old.
Who Really Said That? - The Chronicle Review By Corey Robin Sometime last semester I was complaining to my wife, Laura, about a squabble in my department. I can't remember the specifics—that's how small and silly the argument was—but it was eating at me. And eating at me that it was eating at me (tiffs are as much a part of academe as footnotes and should be handled with comparable fuss). So we did what any couple does on the verge of an argument: We Googled it. I decided to do some more sleuthing. The Wrongly Attributed Statement is a phenomenon I've experienced all too often. The WAS is not just a thing, you see, it's an experience. Natalya Balnova for The Chronicle Review What makes the WAS doubly frustrating is that you never know you're in it until it's too late. There are basically three kinds of Wrongly Attributed Statements. For all the aggravation they cause, WAS I and WAS II at least hold out the promise of satisfaction. Take this WAS: "The only thing necessary for the triumph of evil is that good men do nothing."
Blog Archive » Quoted in Die Zeit newspaper: “Japan: Old and Xenophobic” (German with machine translation) Books etc. by ARUDOU Debito (click on icon): UPDATES ON TWITTER: arudoudebito DEBITO.ORG PODCASTS on iTunes, subscribe free Hi Blog. JAPAN Old and xenophobic Japan on the day of elections: the economy is running out of workers. To Ezekiel Ramat would be the Japanese economy actually tear. [??] The contents Ramat knows that from his training at home. “I’m learning every day,” says Ramat. An immigration campaign would be political suicide For decades, Japan has been in a shaky position. Even today, every fourth Japanese is over 65 years old . Now there is a lack of skilled labor, falling tax revenues, and no one knows who is going to pay in the future the growing pension claims. But there is a solution: Immigrants like Ezekiel Ramat. “In Japan, it would be political suicide to run an immigration campaign,” says Arudou Debito. Only half of the Japanese supported the idea of granting foreigners the same fundamental rights as Japanese. A sign for a better immigration policy was not there.
Quentin Rowan, a.k.a. Q. R. Markham, Plagiarism Addict Spy novels embrace clichés—the double agent, the bomb-rigged briefcase—and “Assassin of Secrets,” published last fall, made a virtue of this tendency, piling one trope onto another to create a story that rang with wry knowingness. The book is set in the midst of the Cold War. The protagonist is Jonathan Chase, a suave secret agent with a background in martial arts—part James Bond, part Jason Bourne. In the first chapter, Chase meets Frankie Farmer, a sexy former field agent who presents him with “personalized matching luggage” loaded with surveillance gear. Then he saw her . . . a small light dim but growing to illuminate her as she stood naked but for a thin, translucent nightdress; her hair undone and falling to her waist—hair and the thin material moving and blowing as though caught in a silent zephyr. The author of “Assassin of Secrets” was a thirty-five-year-old début novelist with the pen name Q. The inquiry quickly turned to the writer. Q. The Bond fans were skeptical.
A Critic at Large: PURLOINED LETTERS A CRITIC AT LARGE about plagiarism... Tells how poet Neal Bowers--a professor of English at Iowa State--read a poem early in 1992 that carried with it a bouquet of familiarity... The poem, David Sumner's "Someone Forgotten" struck Bowers as strongly resembling his own"Tenth-Year Elegy" published in "Poetry" a couple of years before. Beyond the title and the first few words, one is hard pressed to find differences. Sumner makes two additional changes in this stanza, both terrible... PURLOINED LETTERS Are we too quick to denounce plagiarism? from THE NEW YORKER, JANUARY 20, 1997 pages 93-97 E ARLY in 1992, Neal Bowers read a poem that carried with it a bouquet of familiarity-at first faint, and then strong, stronger, strongest. The poem, David Sumner's "Someone Forgotten," began like this: He is too heavy and careless, my father, always leaving me at rest-stops, coffee shops, some wide spot in the road. Bowers was struck by the resemblance of this poem to his own "Tenth-Year Elegy," published in Poetry a couple of years before. Careless man, my father, always leaving me at rest stops, coffee shops, some wide spot in the road. Beyond the title and the first few words, one is hard pressed to find differences. Bowers had the dizzying sense of looking into a mirror only to behold David Sumner. Sumner/Compton/Jones is a cheat, no doubt about it; and now and then we run across other cases of plagiarism that shut before they are open. Here's Shalit: And here is Louis J.