90 Matching Annotations
  1. Feb 2019
    1. First, One for the recording of our own thoughts. Secondly, The other for the communicating of our thoughts to others.

      Cf. Foucault's "Self Writing" with hupomnemata as recorded thoughts and correspondence as sending those thoughts to others.

  2. Jan 2019
    1. politics is effec-tively to eliminate the possibility of some versions of freedom. Instead, aposthuman politics finds its strategies in transient, emergent coalitionsand in diagramming networks of powe

      How would power be distributed? equally or a winner take all situation? Also, does the definition of power change in this instance?

    1. ubjectivity canthen be re-defined as an expanded self, whose relational capacity is notconfined within the human species, but includes non-anthropomorphicelements.

      Like mholder pointed out, this also speaks to Foucault's "Self Writing." In this case, I think the connection to the notebook and/or letter (correspondence) is important, where the "expanded self" is due in large part thanks to the non-anthropomorphic materials the writer interacts with (a la Barad's intra-activity, if I'm making that connect aright).

    2. The interplay between the present as actual and the presentas virtual spells the rhythms of subject formation.

      Following their Foucault reference, this reminds me of his "Self Writing" piece. The self is formed through the physical, material act of writing -- "the present as actual" -- and the transmission of self across space and time through the letter -- "the present as virtual". The subject, then, emerges against the interplay of the material and the virtual.

    1. What if we rode harder onthe performative, as Barad urges, seeing it as“material enactments that contribute to, andare a part of, the phenomena we describe.”19This ontological shift asks us to situate thehuman more complexly in the material world, and seek out fresh understandings ofhow it manifests in who we are and what we do.

      This reminds me of Foucault's Self Writing.

    1. The skillful hunters then would come staggering back with a load of meat, a lot of ivory, and a story.

      This makes me think of Chimamanda Ngozi Adichie's TED Talk: "The danger of a single story." Rather than solely focusing on the single story aspect, Adichie delves into the topic of storytelling and the subsequent power associated with it. In this sense, the discussion of power alludes to Foucault's extensive work on power.

      https://www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story/transcript?language=en

  3. Mar 2018
    1. "This kind of analysis is characterized, first, by anti-atomism, by the idea tht we should not analyze single or individual elements in isolation but that one must look at the systematic relations amongst elements; second, it is characterized by the idea that the relations between elements are coherent and transformable, that is, that the elements form a structure." (Mason, 2008: 105)

    2. "It is complexity theory more broadly, however, that has drawn off poststructural methods, and establishes them as a form of critical realism" (Mason, 2008: 102)

    3. "Whereas Marxists like Althusser adopted a totalistic programme of seeking to explain the whole by understanding the interrelations between its component parts, for Foucault the totality always eluded analysis or understanding in terms of structure, but rather was characterised by incompleteness, indeterminacy, complexity and change. This was the core of his pluralism. As Foucault says, 'though it is true that these discontinuous discursive series each have, within certain limits, their regularity, it is undoubtedly no longer possible to establish links of mechanical causality, or of ideal necessity between the elements which constitute them. We must accept the introduction of alea (chance) as a category in the production of events' (1981: 69)" (Mason, 2008: 95)

    4. "Nietzsche's importance to Foucault can be seen as 'correcting Marx', especially in relation to the linkage between power-knowledge-truth, and the functioning of knowledge as an instrument of power. As Alan Schrift (1993, p.40) notes, Nietzsche's influence drew attention away from 'substances, subjects and things, and focussed attention instead on the relations between these substantives'. In a related way, Foucault 'draws our attention away from the substantive notino of power and directs our attention instead to the multifarious ways that power operates through the social order'. For Nietzsche, such relations were relations of forces. Foucault thus focussed on new relations as the relations of forces that existed and interacted within social systems as social practices. These were forces of repression and production that characterised the disciplinary society: forces that enable and block, subjugate and realise, and normalise and resist. In this model, power is not a thing, but a process, a relation of forces." (Mason, 2008: 92)

    5. To understand Foucault as a complexity theorist we need to understand his rejection of Marx and structuralism. Instead Nietzsche serves as Foucault's guide, especially with his process of genealogy.

    6. Foucault as Complexity Theorist in Education in the book Complexity Theory and the Philosophy of Education

      See also Research Methods in Education, which first introduced me to Complexity Theory as a method for research

    7. Mason perceives Foucault as a complexity theorist, and he believes he is relevant today in this capacity.

  4. Feb 2018
    1. copying the following portrait of the religion of the south

      Again, I think of Foucault's "genealogical" history, which is "effective" insofar as it "cuts" at the pretensions of consensus narratives via parody and other forms of ironization.

  5. Oct 2017
    1. any pedagogical practice presupposes some notion of the future, prioritizes some forms of identification over others and values some modes of knowing over others

      Textbook Foucault.

  6. May 2017
    1. This is a technological solution for a technological problem, and it comes forth from a desire for mastery

      Sounds a bit like Foucault and Chomsky; using our current notions of justice to create an ideal society (or whatever they were yapping on about), fighting fire with fire

  7. Apr 2017
    1. It is the view of the anti-rhetoricians that this double task of inner and outer regulation can be accomplished by linguistic reform, by the institu-tion of conditions of communication that at once protect discourse from the irrelevancies and con-tingencies that would compromise its universal-ity and insulate the discoursing mind from those contingencies and irrelevancies it itself harbors

      Again, all I hear is Foucault warning Chomsky about danger!

    2. model of language abstracted from any particular performance, or in the project of Es-peranto or some other artificial language claim-ing universality,6 or in the fashioning of a Haber-masian "ideal speech situation" in which all assertions express "a 'rational will' in relation to a common interest ascertained without decep-tion,"1

      Sounds a bit like the Chomsky Foucault debate, using our language to create a language that is somehow above, or superior to our current method.

  8. Feb 2017
    1. ut Rheloric, being the art of co1111111111icatio11 by language, implies the pres-ence, in fact or in imagination, of at least two persons,-thc speaker or the writer, and the per-son spoken 10 or written to

      Can't help but think of Foucault's journals, especially considering that the intro to Bain and Hill mention a growing interest in private discourse because of higher literacy rates. What is the place of private or personal writing in rhetoric? How is the writer his/her own audience?

    1. "Houve uma onda da esquerda na América Latina e agora, ao que tudo indica, haverá uma onda conservadora. São processos naturais, a história funciona dentro de ciclos."

      Uma manifestação da continuidade (criada sobre a história pela teoria) criticada por Foucault em A Arqueologia do Saber. Aqui, ela aparece como o caráter cíclico da história.

  9. Jan 2017
    1. After all, Archimedes was in need of nothing more than a fixed point to raise the world. Einstein equipped his observers with only a rod and a stopwatch: Why would we require heavier equipment to creep through the dark tiny conduits traced by blind ants?

      The idea of people requiring only the simplest of tools to make an impact on the world is one that makes me connect this piece to the one by Foucault. As this author states, it may be disappointing that the only tools necessary to tackle large issues are notebooks and the ideas within them, making them come off to me more as encyclopedias of past experiences to aid in future ones, or rather they are just a different representation of the self-writing that Foucault mentions.

    1. own

      What exactly is Foucault's connection with modernism? Because this process seems like the antithesis of modernism; thought there isn't a single, uniform truth, it seems less skeptical of truth--there is an acknowledgement that there is truth out there. And there's this idea that be reading all these things and writing about them, you'll create a whole, a body, "tissue and blood." This differs from the fragmentation and skepticism of truth in modernism. I can see Foucault's social construction in here, but it seems more positive, not panopticism. Been a while since I've read other Foucault, so I'm not sure how much this is making sense.

  10. Jun 2016
    1. Whilecriticaltheoristsmayquestionthe“prestigeofauthorship”and“allmanifes-tationsofauthor-ity”(Birkerts,1994,pp.158–159)—whichhelpsexplainthepredilectionforpostmodernistandeschatologicaltitlessuchasTheDeathoftheAuthor(Bar-thes,1977),WhatisanAuthor?(Foucault,1977),andTheDeathofLiterature(Kernan,1990)—thereislittledoubtthatboththesymbolicandmaterialconsequencesofauthor

      Critical theorists may question the "prestige of authorship," but there is little doubt that the material consequences are more far reaching than they were in ancient times.

      Actually, this is a misreading of Foucault, who discusses the economic implications of authorship.

  11. screen.oxfordjournals.org screen.oxfordjournals.org
    1. What is an Author? fMichel Foucault

      Foucault, Michel. 1979. “Authorship: What Is an Author?” Screen 20 (1): 13–34. doi:10.1093/screen/20.1.13.

      Really interesting and far ranging essay about authorship. Shows how literary authorship is really a function: i.e. a thing we use to capture assumptions about ethical background to an oeuvre. Makes a number of useful distinctions among genres and the like in this regard,

      A very interesting discussion has to do with "initiators of discursive practices," which are in a certain sense the Humanities equivalent of Kuhn's paradigm shifters. He argues though, that people like Freud and Marx establish practices to which we "return," rather than disciplines that we refine (as he argues they do in science). This is not 100% true, in the sense that evolution is a theory in the Freudian sense, especially when it manifests itself as evolutionary psychology. But it is largely true, in the sense that there is less to be gained in rereading Galileo than in rereading Freud. (Although these line up roughly on a humanities/science division, it isn't 100%: I'd argue that oral formulaicism is more like Galileo than Freud, for example, while Darwin is more like Freud).

      An interesting companion to this is Fish 1988, where he argues against blind peer review in the humanities. He uses examples of other discourse initiators, like Frye, for example, to argue that their opinions are more important than others because of who they are.

      In my own notes, thinking about the article on scientific authorship, I developed the idea of Oeuvre as a key distinction between this kind of authorship and scientific authorship.

    2. verningthis function is the belief that there must be - at a particular levelof an author's thought, of his conscious or unconscious desire — apoint where contradictions are resolved, where the incompatibleelements can be shown to relate to one another or to cohere arounda fundamental and originating contradiction. Fin

      This is not true (in theory) of scientific authorship. We don't judge the coherence of the oeuvre.

      Again it conflict with Fish's view of literary criticism

    3. Assuming that we are dealing with an author, is everything hewrote and said, everything he left behind, to be included in hiswork

      This is very interesting, because it brings in Booth's Implied Author (i.e., basically, the "Author brand"). For literature, this is a real thing. We are interested in specific canons and ouevres because we like them and are attracted to the implied author they represent. But in Science writing, there should not be a similar implied author--in the sense that we shouldn't find science better because one person and wrote it and not another; we don't see science in terms of the ouevre of the author, but rather the instance of the work.

      This then finally, ties to Fish's point about how anonymity is not appropriate to literary criticism: he sees the existence of an ouevre being relevant there in a way it shouldn't be in science.

    4. shall try to answer. The first thing I shall sayis that I, personally, have never used the word 'structure'. Look forit in The Order of Things and you will not find it. Therefore, I wishI could be spared all the facile criticisms on structuralism, or elsethat these could be substantiated. Moreover, I did not say that theauthor did not exist; I did not say it and I am surprised that mylecture should have led to such a misunderstanding. Let us go ove

      Great answer!

    5. Michel Foucault raised another problem in his lecture: that ofecriture. I think it is better to give this discussion a name, since Iexpect that we have all been thinking of Derrida and his system.We know that Derrida is attempting (a gamble which I find para-doxical) to elaborate a philosophy of writing, while at the sametime denying the existence of the subject. This is all the morecurious since this concept of writing is otherwise very close to thedialectical concept of practice. To quote but one example amongothers: I can only agree with him when he tells us that writingleaves traces which eventually efface themselves; it is the propertyof every practice, be it the construction of a temple, which dis-appears after several centuries or millenia, the opening of a road,the altering of its course or, more prosaically, the manufacture of acouple of sausages which are then eaten

      Ties the discussion of ecriture to derrida.

    6. can easily imagine a culture wherediscourse would circulate without any need for an author. Dis-courses, whatever their status, form, or value, and regardless of ourmanner of handling them, would unfold in a pervasive anonymity.No longer the tiresome repetitions: 'Who is the real author?' 'H

      Great epigraph for article on scientific authorship

      We can easily imagine a culture where discourse would circulate without any need for an author. Discourses, whatever their status, form, or value, and regardless of our manner of handling them, would unfold in a pervasive anonymity. No longer the tiresome repetitions: 'Who is the real author?' 'Have we proof of his authenticity and originality?' 'What has he revealed of his most profound self in his language?' New questions will be heard: 'What are the modes of existence of this discourse?' 'Where does it come from; how is it circulated; who controls it,' 'What placements are determined for possible subjects?' 'Who can fulfill these diverse functions of the subject?' Behind all these questions we would hear little more than the murmur of indifference: 'What matter who's speaking?'

    7. A study of Galileo's works could alter our knowledge ofthe history, but not the science, of mechanics; whereas, a re-examination of the books of Freud or Marx can transform ourunderstanding of psychoanalysis or Marxism

      A nice summary of the difference between "return" in a new discourse, and "revision" in a new science.

    8. In keeping with this distinction, we can understand why it isinevitable that practitioners of such discourses must 'return to theorigin*.

      This is a more convincing difference: practitioners of new discourses return to their founding documents in a way that practitioners of new disciplines do not.

      This is a basic methodological difference between science and the humanities, however, and it helps explain why Darwinism is in some ways really a branch of the humanities: it is a theory you come back to rather than an observation.

      Oral formulaic theory, on the other hand, is more like the scientific discipline: no need to go back to Parry and Lord.

    9. The initiation of a discursive practice,unlike the founding of a science, overshadows and is necessarilydetached from its later developments and transformations. As aconsequence, we define the theoretical validity of a statement withrespect to the work of the initiator, whereas in the case of Galileoor Newton, it is based on the structural and intrinsic norms estab-lished in cosmology or physics. Stated schematically, the work ofthese initiators is not situated in relation to a science or in thespace it defines; rather, it is science or discursive practice thatrelate to their works as the primary points of reference.

      On the difference between scientific and discursive schools. I don't find it convincing.

    10. On the other hand, the initiation of a discursive practice isheterogeneous to its ulterior transformations. To extend psycho-analytic practice, as initiated by Freud, is not to presume a formalgenerality that was not claimed at the outset; it is to explore anumber of possible applications. To limit it is to isolate in theoriginal texts a small set of propositions or statements that areirecognized as having an inaugurarive value and that mark otherFreudian concepts or theories as derivative. Fi

      Don't find this a convincing distinction, I must say.

    11. a scientific programme, the founding act is on an equal footingI with its future transformations: it is merely one among the manymodifications that it makes possible. This interdependence cantake several forms. In the future development of a science, thefounding act may appear as little more than a single instance of amore general phenomenon that has been discovered. It might bequestioned, in retrospect, for being too intuitive or empirical andsubmitted to the rigours of new theoretical operations in order tosituate it in a formal domain. Finally, it might be thought a hastygeneralization whose validity should be restricted. In other words,the founding act of a science can always be rechannelled through' the machinery of transformations it has instituted.

      Paradigm shifts are part of the science that follows (i.e. are filled in by normal science, in Kuhn's terms).

    12. ficially,then, the initiation of discursive practices appears similar to thefounding of any scientific endeavour, but I believe there is a funda-/ mental difference

      How initiators of discursive practices are different from founders of scientific schools or disciplines.

    13. other hand, Marx and Freud, as'initiators of discursive practices', not only made possible a certainnumber of analogies that could be adopted by future texts, but,as importantly, they also made possible a certain number of dif-ferences. They cleared a space for the introduction of elementsother than their own, which, nevertheless, remain within the fieldof discourse they initiated. In saying that Freud founded psycho-analysis, we do not simply mean that the concept of libido or thetechniques of dream analysis reappear in the writings of KarlAbraham or Melanie Klein, but that he made possible a certainnumber of differences with respect to his books, concepts, andhypotheses, which all arise out of psychoanalytic discourse.

      How Freud and Marx shift the paradigm: "not only made possible a certain number of analogies that could be adopted by future texts, but, as importantly, they also made possible a certain number of differences."

      I don't find the "differences" part convincingly expressed, but I think he means that they created domain-boundaries: not just, "here's the id, you can use it" but also "hey, we can analyse dreams."

    14. The distinctive contribution of these authors is that they pro-duced not only their own work, but the possibility and the rulesof formation of other texts. In this sense, their role differs entirelyfrom that of a novelist, for example, who is basically never morethan the author of his own text. Freud is not simply the author ofThe Interpretation of Dreams or of Wit and its Relation to theUnconscious and Marx is not simply the author of the CommunistManifesto or Capital: they both established the endless possibilityof discourse. Obviously, an easy objection can be made. The authorof a novel may be responsible for more than his own text; if heacquires some 'importance' in the literary world, his influence canhave significant ramifications. To take a very simple example, onecould say that Ann Radcliffe did not simply write The Mysteriesof Udolpho and a few other novels, but also made possible theappearance of Gothic Romances at the beginning of the nine-teenth century. To this extent, her function as an author exceedsthe limits of her work. However, this objection can be answeredby the fact that the possibilities disclosed by the initiators of dis-cursive practices (using the examples of Marx and Freud, whomI believe to be the first and the most important) are significantlydifferent from those suggested by novelists. The novels of AnnRadcliffe put into circulation a certain number of resemblances andanalogies patterned on her work - various characteristic signs,figures, relationships, and structures that could be integrated intoother books. In short, to say that Ann Radcliffe created the GothicRomance means that there are certain elements common to herworks and to the nineteenth-century Gothic romance: the heroineruined by her own innocence, the secret fortress that functions as

      Really useful passage to compare to Kuhn. This is basically an argument about paradigm shifters and normal science as applied to literature.

    15. I believe that the nineteenth century in Europe produced asingular type of author who should not be confused with 'great'literary authors, or the authors of canonical religious texts, andthe founders of sciences. Somewhat arbitrarily, we might call them'initiators of discursive practices'.

      Has another category: people like Marx and Freud (and I'd say Darwin) who constructed theories that are productive in other works as well. These are "initiators or discursive practices."

      This ties in well with Kuhn's paradigms.

    16. However, it is obvious that even within the realm ofdiscourse a person can be the author of much more than a book -of a theory, for instance, of a tradition or a discipline within whichnew books and authors can proliferate. For convenience, we couldsay that such authors occupy a 'transdiscursive' position.

      Nice move. Identifies authors of movements as well: could include Homer, Artistotle, church fathers

    17. author-function' is tiedto the legal and institutional systems that circumscribe, determine,and articulate the realm of discourses; it does not operate in auniform manner in all discourses, at all times, and in any givenculture; it is not defined by the spontaneous attribution of a textto its creator, but through a series of precise and complex pro-cedures; it does not refer, purely and simply, to an actual individualinsofar as it simultaneously gives rise to a variety of egos and to aseries of subjective positions that individuals of any class may

      Four characteristics of the "author-function":

      1. "the 'author-function' is tied to the legal and institutional systems that circumscribe, determine,and articulate the realm of discourses;"
      2. "it does not operate in a uniform manner in all discourses, at all times, and in any given culture";
      3. "it is not defined by the spontaneous attribution of a text to its creator, but through a series of precise and complex procedures";
      4. it does not refer, purely and simply, to an actual individual in so far as it simultaneously gives rise to a variety of egos and to aseries of subjective positions that individuals of any class may come to occupy"
    18. athe-matical treatise, the ego who indicates the circumstances of com-position in the preface is not identical, either in terms of his posi-tion or his function, to the T who concludes a demonstrationwithin the body of the text. The former implies a unique individualwho, at a given time and place, succeeded in completing a project,whereas the latter indicates an instance and plan of demonstrationthat anyone could perform provided the same set of axioms, pre-liminary operations, and an identical set of symbols were used. It isalso possible to locate a third ego: one who speaks of the goals of' his investigation, the obstacles encountered, its results, and theproblems yet to be solved and this T would function in a field ofexisting or future mathematical discourses. We are not dealing witha system of dependencies where a first and essential use of the Tis reduplicated, as a kind of fiction, by the other two. On thecontrary, the 'author-function' in such discourses operates so as toeffect the simultaneous dispersion of the three egos

      Hmmm. Argues for a "second self" in scientific writing.

      1. I'm not sure this kind of first person is that common (though it is common in literary criticism);
      2. If it is, I'm not sure there is a distinction between the author and some narrator-type figure or his third category (the person who speaks of the goals of the investigation (an implied author?)).
    19. ight object that thisphenomenon only applies to novels or poetry, to a context of 'quasi-discourse', but, in fact, all discourse that supports this 'author-function' is characterized by the plurality of egos. In a

      There you go: he means that grammar changes in all texts that support the "author-function". Somehow he distinguishes this from simply "poetic texts," but I'm not sure why or how.

    20. ave a different bearing on texts with an author and 23on those without one. In the latter, these 'shifters' refer to a realspeaker and to an actual deictic situation, with certain exceptionssuch as the case of indirect speech in the first person. When dis-course is linked to an author, however, the role of 'shifters' is morecomplex and variable. It is well known that in a novel narrated inthe first person, neither the first person pronoun, the presentindicative tense, nor, for that matter, its signs of localization referdirectly to the %vriter, either to the time when he wrote, or to thespecific act of writing; rather, they stand for a 'second self whosesimilarity to the author is never fixed and undergoes considerablealteration within the course of a single book. It

      Grammar has different meaning with fictional author and non-author texts: in the second case (not fiction), the grammar is deictic; in the former, it is literary.

      This is a really interesting point, by I think MF is confusing terms a little. the issue has to do with the deictic nature of the text rather than the availability of an author-attribution (unless he means "literary author of the kind I've been discussing as an author-function").

    21. ccording to Saint Jerome, there are four criteria:the texts that must be eliminated from the list of works attributedto a single author are those inferior to the others (thus, the authoris defined as a standard level of quality); those whose ideas conflictwith the doctrine expressed in the others( here the author is definedas a certain field of conceptual or theoretical coherence); thosewritten in a different style and containing words and phrases notordinarily found in the other works (the author is seen as a stylisticuniformity); and those referring to events of historical figures sub-sequent to the death of the author (the author is thus a definitehistorical figure in which a series of events converge). Alth

      Jerome's criteria that rule out an authorship attribution:

      1. Author as standard of quality (work is less good than you'd expect)
      2. Author is field of conceptual or theoretical coherence (i.e. this work disagrees with some other work by the person)
      3. Stylistic uniformity (written in different style)
      4. Temporal unit (i.e. written before or after the author's known life).
    22. alue of a text by ascertaining the holiness of its author. In

      prove the value of a text by asserting the holiness of its author.

      This is ironically what T&P committees do.

    23. In literary criticism, for example, the traditional methods fordefining an author - or, rather, for determining the configurationof the author from existing texts - derive in large part from thoseused in the Christian tradition to authenticate (or to reject) theparticular texts in its possession. Modern criticism, in its desireto 'recover' the author from a work, employs devices stronglyreminiscent of Christian exegesis w

      Relationship of literary criticism to exegesis

    24. There are, nevertheless, transhistorical constants in therules that govern the construction of an author.

      Argues that there are transhistorical contstraints on construction of author. Transgeneric as well?

    25. In addition, all these operations vary according to the periodand the form of discourse concerned. A 'philosopher' and a 'poet'are not constructed in the same manner; and the author of aneighteenth-century novel was formed differently from the modernnovelist.

      Argues that the construction and meaning of "the author" varies by time and genre.

    26. The third point concerning this 'author-function' is that it is notformed spontaneously through the simple attribution of a discourseto an individual. It results from a complex operation whose pur-pose is to construct the rational entity we call an author. Un-doubtedly, this construction is assigned a 'realistic' dimension aswe speak of an individual's 'profundity' or 'creative' power, hisintentions or the original inspiration manifested in writing. Never-theless, these aspects of an individual, which we designate as anauthor (or which comprise an individual as an author), are pro-jections, in terms always more or less psychological, of our way ofhandling texts: in the comparisons we make, the traits we extractas pertinent, the continuities we assign, or the exclusions we prac-tise.

      Version of the "Implied author"

    27. At the same time, however, 'literary' discourse was acceptableonly if it carried an author's name; every text of poetry or fictionwas obliged to state its author and the date, place and circumstanceof its writing. The meaning and value attributed to the text de-pended on this information. If by accident or design a text waspresented anonymously, every effort was made to locate its author.Literary anonymity was of interest only as a puzzle to be solved as,in our day, literary works are totally dominated by the sovereigntyof the author. (

      At the same time scientific authorship was becoming anonymous, literary authorship was no longer accepted as anonymous (this is something Chartier disagrees with emphatically)

    28. the seventeenth andeighteenth centuries, a totally new conception was developed whenscientific texts were accepted on their own merits and positionedwithin an anonymous and coherent conceptual system of estab-lished truths and methods of verification. Authentification no longerrequired reference to the individual who had produced them; therole of the author disappeared as an index of truthfulness and,where it remained as an inventor's name, it was merely to denot

      Argues that in the 17th and 18th centuries, science was supposed to stand on its own and the author vanished as the "index of truthfulness." Interesting that one of the main arguments in favour of maintaining scientific authorship now is this index of truthfulness

    29. exts, however, that we now call 'scien-tific' (dealing with cosmology and the heavens, medicine or illness,the natural sciences or geography) were only considered truthfulduring the Middle Ages if the name of the author was indicated.Statements on the order of 'Hippocrates said ..." or 'Pliny tellsus that . . .' were not merely formulas for an argument based onauthority, they marked a proven discourse. In the seventeenth andeighteenth centuries, a totally new conception was developed whenscientific texts were accepted on their own merits and positionedwithin an anonymous and coherent conceptual system of estab-lished truths and methods of verification. Authentification no longerrequired reference to the individual who had produced them; therole of the author disappeared as an index of truthfulness and,where it remained as an inventor's name, it was merely to denote

      Chartier argues that this is very wrong in his history.

      Foucault here argues that scientific authors did exist in the "Middle Ages" because they were an "index of truthfulness"--so not really authors but guarantors.

    30. Secondly, the 'author-function' is not universal or constant in alldiscourse. Even within our civilization, the same types of textshave not always required authors; there was a time when thosetexts which we now call 'literary' (stories, folk tales, epics, andtragedies) were accepted, circulated, and valorized without anyquestion about the identity of their author. Their anonymity wasignored because their real or supposed age was a sufficient guaran-tee of their authenticity. T

      on differentiating among texts.

    31. First, they are objects of appropriation; the form of propertythey have become is of a particular type whose legal codificationwas accomplished some years ago. It is important to notice, aswell, that its status as property is historically secondary to thepenal code controlling its appropriation. Speeches and books wereassigned real authors, other than mythical or important religiousfigures, only when the author became subject to punishment andto the extent that his discourse was considered transgressive. Inour culture - undoubtedly in others as well - discourse was notoriginally a thing, a product, or a possession, but an action situatedin a bipolar field of sacred and profane, lawful and unlawful, reli-gious and blasphemous. It was a gesture charged with risks longbefore it became a possession caught in a circuit of property values.But it was at the moment when a system of ownership and strictcopyright rules were established (toward the end of the eighteenthand beginning of the nineteenth century) that the transgressiveproperties always intrinsic to the act of writing became the force-ful imperative of literature. It is as if the author, at the momenthe was accepted into the social order of property which governsour culture, was compensating for this new status by revivingthe older bipolar field of discourse in a systematic practice of trans-gression and by restoring the danger of writing which, on anotherside, had been conferred the benefits of property

      Importance of "author" for commerce and control. This is true of scientific writing, but in a slightly different way. The type of thing he is talking about here has to do with Oeuvre.

    32. nsequently, we cansay that in our culture, the name of an author is a variable thataccompanies only certain texts to the exclusion of others: a privateletter may have a signatory, but it does not have an author; acontract can have an underwriter, but not an author; and, similarlyan anonymous poster attached to a wall may have a writer, buthe cannot be an author. In this sense, the function of an author isto characterize the existence, circulation, and operation of certaindiscourses within a society

      Very useful statement of where foucault applies in this case: to literary discussion, not advertising, not letters, and so on.

      Science would fall into the "not this" category, I suspect.

    33. We can conclude that, unlike a proper name, which moves fromthe interior of a discourse to the real person outside who producedit, the name of the author remains at the contours of texts -separating one from the other, defining their form, and character-izing their mode of existence. It points to the existence of certaingroups of discourse and refers to the status of this discourse withina society and culture. The author's name is not a function of aman's civil status, nor is it fictional; it is situated in the breach,among the discontinuities, which gives rise to new groups of dis-course and their singular mode of existence. C

      Again, an "Implied Author" type idea that is completely not relevant to science--although ironically, the H-index tries to make it relevant. In science, the author name is not the function that defines the text; it is the person to whom the credit it to be given rather than a definition of Oeuvre. This is really useful distinction for discussing what is different between the two discourses.

    34. To learn, for example, that Pierre Dupont does not have blueeyes, does not live in Paris, and is not a doctor does not invalidatethe fact that the name, Pierre Dupont, continues to refer to thesame person; there has been no modification of the designation thatlinks the name to the person. With the name of an author, how-ever, the problems are far more complex. The disclosure thatShakespeare was not born in the house that tourists now visitwould not modify the functioning of the author's name, but if itwere proved that he had not written the sonnets that we attributeto him, this would constitute a significant change and affect themanner in which the author's name functions. Moreover, if weestablish that Shakespeare wrote Bacon's Organon and that thesame author was responsible for both the works of Shakespeareand those of Bacon, we would have introduced a third type ofalteration which completely modifies the functioning of the author'sname. Consequently, the name of an author is not precisely a propername among others

      Interesting discussion about how an author's name is affected by the oeuvre we ascribe to him/her.

    35. The name of an author poses all the problems related to thecategory of the proper name. (Here, I am referring to the work ofJohn Searle,3 among others.) Obviously not a pure and simplereference, the proper name (and the author's name as well) hasother than indicative functions. It is more than a gesture, a fingerpointed at someone; it is, to a certain extent, the equivalent of adescription. When we say 'Aristotle', we are using a word thatmeans one or a series of definite descriptions of the type: 'theauthor of the Analytics', or 'the founder of ontology', and so forth.Furthermore, a proper name has other functions than that of sig-nification: when we discover that Rimbaud has not written LaChasse spirituelle, we cannot maintain that the meaning of theproper name or this author's name has been altered. The propername and the name of an author oscillate between the poles ofdescription and designation, and, granting that they are linked towhat they name, they are not totally determined either by theirdescriptive or designative functions. Yet - and it is here that thespecific difficulties attending an author's name appear - the linkbetween a proper name and the individual being named and the linkbetween an author's name and that which it names are not iso-morphous and do not function in the same way; and these dif-ferences require clarification.

      And, of course, it is an economic and reputational thing as well

      What is the purpose of an author's name?

    36. It is obviously insufficient to repeat empty slogans: the authorhas disappeared; God and man died a common death. Rather, weshould re-examine the empty space left by the author's disappear-ance, we should attentively observe, along its gaps and fault lines,its new demarcations, and the reapportionment of this void; weshould await the fluid functions released by this disappearance.In this context we can briefly consider the problems that ari

      It is obviously insufficient to repeat empty slogans: the author has disappeared; God and man died a common death. Rather, we should re-examine the empty space left by the author's disappearance, we should attentively observe, along its gaps and fault lines,its new demarcations, and the reapportionment of this void; we should await the fluid functions released by this disappearance.In this context we can briefly consider the problems that arise in the use of an author's name. What is the name of an author? How does it function? Far from offering a solution, I will attempt to indicate some of the difficulties related to these questions.

      Great epigraph for an article on scientific authorship. Also relevant, especially the bottom bit.

    37. Another thesis has detained us from taking full measure of the 17author's disappearance. It avoids confronting the specific event thatmakes it possible and, in subtle ways, continues to preserve theexistence of the author. This is the notion of icriture. Strictlyspeaking,.it should allow us not only to circumvent references toan author, but to situate his recent absence. The conception oficriture, as currently employed, is concerned with neither the actof writing nor the indications, as symptoms or signs within a text,of an author's meaning; rather, it stands for a remarkably profoundattempt to elaborate the conditions of any text, both the conditionsof its spatial dispersion and its temporal deployment

      écriture is a fasle way of stepping around the problem in literary criticism, because it simply defers the identity of the author, without stopping treating the author as a unit. But it might be a solution to science writing, in that a credit system, for example, doesn't need an author-function to exist.

    38. his problem is both theoretical and practical. If we wishto publish the complete works of Nietzsche, for example, where dowe draw the line? Certainly, everything must be published, but canwe agree on what 'everything' means? We will, of course, includeeverything that Nietzsche himself published, along with the draftsof his works, his plans for aphorisms, his marginal notations andcorrections. But what if, in a notebook filled with aphorisms, wefind a reference, a reminder of an appointment, an address, or alaundry bill, should this be included in his works? Why not? T

      How to define literature: again, a difference to science. It would never occur to us to confuse a scientists scientific work from all other writing, because the category is so clear; but literature is a more amorphous term.

    39. t,what of a context that questions the concept of a work? What, inshort, is the strange unit designated by the term, work? What isnecessary to its composition, if a work is not something writtenby a person called an 'author'? Difficulties arise on all sides if weraise the question in this way. If an individual is not an author,what are we to make of those things he has written or said, leftamong his papers or communicated to others? Is this not properlya work?

      What happens when you question what a work is? How does that affect our notion of authorship. If Sade is not an author, then are his writings not work?

      This also has an interesting relationship to scientific authorship in the sense that the traditional "work" is actually very definable (i.e. the paper), though we are now discovering new forms of communication (e.g. data, blogs, and so on). But it is also interesting because of how much scientific writing is team based or collaborative. That also undermines the heroic author-figure

    40. as been under-stood that the task of criticism is not to re-establish the ties betweenan author and his work or to reconstitute an author's thought andexperience through his works and, further, that criticism shouldconcern itself with the structures of a work, its architectonic forms,which are studied for their intrinsic and internal relationships. Y

      Thinking of new criticism here

    41. his conception of aspoken or written narrative as a protection against death has beentransformed by our culture. Writing is now linked to sacrifice and tothe sacrifice of life itself; it is a voluntary obliteration of the selfthat does not require representation in books because it takes placein the everyday existence of the writer. Where a work had the dutyof creating immortality, it now attains the right to kill, to becomethe murderer of its author. Flaubert, Proust, and Kafka are obviousexamples of this reversal. In addition, we find the link betweenwriting and death manifested in the total effacement of the indi-vidual characteristics of the writer;

      Interesting to compare this to science writing: 3rd person and lack of individuality (like this) but not self-referential/self-consciously performative.

    42. Beckett supplies a direction: 'What matter who's sp

      from text 3. See Hird 2010

    43. For the purposes of this paper, I will set aside a sociohistoricalanalysis of the author as an individual and the numerous ques-tions that deserve attention in this context; how the author wasindividualized in a culture such as ours; the status we have giventhe author, for instance, when we began our research into authen-ticity and attribution; the systems of valorization in which he wasincluded; or the moment when the stories of heroes gave way toan author's biography; the conditions that fostered the formula-tion of the fundamental critical category of 'the man and his work'

      Not dealing with the history of the author, rather the history of the relationship between the author and his work [sic]

    44. en now, when we studythe history of a concept, a literary genre, or a branch of philo-sophy, these concerns assume a relatively weak and secondaryposition in relation to the solid and fundamental role of an authorand his works

      On extent to which we assume the author is real and solid even if we are doubtful about the nature of the field in which the author is working.

    45. hese questionshave determined my effort to situate comprehensive discursiveunits, such as 'natural history' or 'political economy', and to estab-lish the methods and instruments for delimiting, analysing, anddescribing these unities.

      Purpose of Archaeology of Knowledge

    46. my objective in The Order of Things1 had been toanalyse verbal clusters as discursive layers which fall outside thefamiliar categories of a book, a work, or an author. But while Iconsidered 'natural history', the 'analysis of wealth', and 'politicaleconomy' in general terms, I neglected a similar analysis of theauthor and his works; it is perhaps due to this omission that Iemployed the names of authors throughout this book in a naiveand often crude fashion. I spoke of Buffon, Cuvier, Ricardo, andothers as well, but failed to realize that I had allowed their namesto function ambiguously. This

      Goal of "Order of things" was to analyse verbal clusters as discursive layers that are not books but other types of discourse: natural history, wealth, political economy and so on.

    1. t "[ilf Northrop Frye should write an essay attacking archetypal criticism, the article would by definition be of much greater significance than an article by another scholar attack- ing the same approach" (Schaefer 5). The reason, of course, is that the approach is not something in- dependent of what Northrop Frye has previously said about it; indeed, in large part archetypal criticism is what Northrop Frye has said about it, and therefore anything he now says about it is not so much to be measured against an independent truth as it is to be regarded, at least potentially, as a new pronouncement of what the truth will hereafter be said to be

      author-function at work: Frye is an author-concept and his work is a coherent whole--an Oeuvre.

      This is absolutely fine for literary criticism and the humanities. The same is in practice true of the sciences--what Steven Hawking says about physics is more interesting than other people, especially if he reverses his previous claims. But in contrast to Frye, where a reversal is a change in the discursive practice (cf. Foucault), in the case of science, it should not be the case that hearing a "great man" reverse himself is more significant than hearing an unknown post-doc. The reversal should be evidence-based.

    1. What Is an Author?

      A published text of this can be found here: Foucault, Michel. 1979. “Authorship: What Is an Author?” Screen 20 (1): 13–34. doi:10.1093/screen/20.1.13.

    2. Searle's analyses

      John Searle, Speech Acts: An Essay in the Philosophy of Language, Cambridge, 1969.

    3. The word work and the unity that it designates are probably as problematic as the status of the author's individuality

      Foucault on the problem of unity of work as well as author; this is perhaps something that could be brought back to scientific authorship.

    4. First of all, we can say that today's writing has freed itself from the theme of expression. Referring only to itself; but without being restricted to the confines of its interiority, writing is identified with its own unfolded exteriority. This means that it is an interplay of signs arranged less according to its signified content than according to the very nature of the signifier. Writing unfolds like a game [jeu] that invariably goes beyond its own rules and transgresses its limits. In writing, the point is not to manifest or exalt the act of writing, nor is it to pin a subject within language; it is, rather, a question of creating a space into which the writing subject constantly disappears.

      Be interesting to try to say this of scientific authorship!

    5. What does it matter who is speaking

      From Text 3

    6. I want to deal solely with the relationship between text and author and with the manner in which the text points to this figure that, at least in appearance; is outside it and antecedes it.

      Idea that the author antecedes the work

    1. WHAT DOES IT MATTER WHO IS SPEAKING/' SOMEONE SAID, "WHAT DOES IT MATTER WHO IS SPEAKING": Beckett, Foucault, Barthes Alastair Hir

      Hird, Alastair. 2010. “‘WHAT DOES IT MATTER WHO IS SPEAKING,’ SOMEONE SAID, ‘WHAT DOES IT MATTER WHO IS SPEAKING’: Beckett, Foucault, Barthes.” Samuel Beckett Today / Aujourd’hui 22: 289–99. http://www.jstor.org/stable/25781931.

      Picks up point that Beckett features very strongly in both Barthe's Death of an Author and Foucault's "What is an Author."

    1. As a context, we must understand that there are four major types of these "technologies," each a matrixof practical reason: (I) technologies of production, which permit us to produce, transform, or manipulatethings; (2) technologies of sign systems, which permit us to use signs, meanings, symbols, orsignification; (3) technologies of power, which determine the conduct of individuals and submit them tocertain ends or domination, an objectivizing of the subject; (4) technologies of the self, which permitindividuals to effect by their own means or with the help of others a certain number of operations on theirown bodies and souls, thoughts, conduct, and way of being, so as to transform I themselves in order toattain a certain state of happiness, purity, wisdom, perfection, or immortality.

      It's great to ask what are the trends? How are we working on ourselves? Is their a role capitalism plays in what is currently being "valued"? Where's the profit?

  12. Oct 2015
    1. I describe this as “writing back” not in order to describe the volunteers as freely acting agents—we will see that this is far from the truth

      like Foucault's idea that power structures predetermine forms of resistance, thus being absorbed back into the power structure?

    2. my focus in this chapter will be to explore how procedures, computational and otherwise, express arguments and how they shape and constrain writing and political action.

      similiar to Foucault's concept of discourse? That is, what can be expressed?

  13. Apr 2015
    1. American Online (AOL) recruits volunteers to be “guides”. Guides spend nine hours online a week policing the AOL service and an additional two hours reading email and filling out reports. Guides greet new members and make them feel welcome, answer user questions about AOL, promote online attractions and events, complete market research, and enforce the AOL’s terms of service. Guides monitor chat rooms, newsgroups, and email messages. AOL expects guides to report to AOL officials and to enforce the AOL’s rules by warning rule violators.

      AOL volunteers

  14. Feb 2015
    1. discipline, built, as Foucault tells us: by groups of objects, methods, their corpus of propositions considered to be true, the interplay of rules and definitions, of techniques and tools: all these constitut[ing] a sort of anonymous system, freely available to whoever wishes, or whoever is able to make use of them, without there being any question of their meaning or their validity being derived from whoever happened to invent them.
  15. Aug 2014
    1. Hence, a first analogy can be put forward: what others are to the ascetic in a community, the notebook is to the recluse. But, at the same time, a second analogy is posed, one that refers to the practice of ascesis as work not just on actions but, more precise]y, on thought: the constraint that the presence of others exerts in the domain of conduct, writing will exert in the domain of the inner impulses of the soul.
  16. Sep 2013
    1. I don't quite understand the difference between Tuke and Pinel use of religion as treatment in Foucault's piece. Tuke believes in the fear of God and re-educating the madman moral conscience will cure him, but Pinel believes this too (just different methods?)

      Thoughts?

    2. I was completely fascinated by Pinel's "recognition by mirror" theory; the idea that a madman must observe madness in others before he can observe it in himself. I, also, liked how it logically connected to "perpertual judgement" and Tuke notion of self-regulation. Once you see yourself as mad, then it becomes your moral obligation to control yourself