18 Matching Annotations
  1. Jul 2021
    1. Not all the ancients are ancestors.

      I'll definitely grant this and admit that there may be independent invention or re-discovery of ideas.

      However, I'll also mention that it's far, far less likely that any of these people truly invented very much novel along the way, particularly since Western culture has been swimming in the proverbial waters of writing, rhetoric, and the commonplace book tradition for so long that we too often forget that we're actually swimming in water.

      It's incredibly easy to reinvent the wheel when everything around you is made of circles, hubs, and axles.

  2. Jun 2021
    1. Though it is often assumedthat mnemonics were used to memorize speeches, the importance of memory to theinventionofspeech was readily apparent to ancient orators—thus the famous praise of memory as athesauruminventorum(Herennium3.16.28). As Cicero writes inDe Oratore, the orator must commit tomemory“the whole past with its storehouse of examples and precedents,”as well as a knowledgeof all laws general and civil, for without such memories, the orator is left speechless (1.17–18).Expanding on Cicero’s point, Quintilian claims that“it is the power of memory alone that bringsbefore us all the store of precedents, laws, rulings, sayings, and facts which the orator must possessin abundance . . . and hold ready for immediate use”(Institutio11.2.1). The art of memory was thusto be used to recollect not only pre-written orations but also knowledge from a variety of sources tobe called upon when constructing new texts, speakingex tempore, or responding to an interlocutor’sarguments.

      Too often, this seems to me to be a missing piece that few talk about now. Those posting to the Art of Memory forum are usually talking about the need to memorize for memorization's sake. Rarely are they talking about or noticing the second or third level order changes as the result of an improved memory.

    2. In my view, the most detrimental result of this change to rhetorical theory is the loss of theclassical outlook that imagination and memory are central to invention

      I can agree with this.

    3. This art of method was understood by Ramus and Ramists as its own efficacious art of memory. InScholae in liberales artes, Ramus is explicit about his disdain for the visual mnemonic rules suggested byclassical sources.“The art of memory,”he counters,“consists entirely in division and composition. If weseek then an art which will divide and compose things, we shall find the art of memory”(qtd. in Yates 233).Ramus thus enfolds the fourth canon into his methodical framework, linking memorization of content withits“division and composition,”that is, with its organization.

      Arrangement and organization definitely have their place and can be helpful. However they may also tend to become too rigid to the point that one's thinking begins to lack creativity and invention. Where is the space for the Llullist arts of combinatorial thought here?

  3. Aug 2020
  4. Mar 2019
  5. Jun 2018
    1. Must those not presentlyidentified as creative be shown in fact to be inventors in order tobe fully recognized? Thisquestion suggests that we need to pay close attention to the tensions and contradictionsthat arise when we adopt a strategy that distributes practices previously identifiedexclusively with certain people and places (for example, with privileged white menworking in elite institutions of science and technology) across a wider landscape (one thatincludes women). In distributing those practices more widely, they are givencorrespondingly greater presence. A counter project, therefore, is to question the valueplaced on innovation itself. The aim is to understand how a fascination with change andtransformation might not be universal, but rather specifically located and with particularpolitical consequences for women, both in termsof the possibilities that are available tothem, and the visibility of their already existing contributions.
  6. Mar 2017
    1. orego one identity for a startling new one

      This seems to continue the theme that I commented on from readings last week about invention. In rhetoric, invention becomes much more than finding a topic; it's about how rhetoric invents us. And again, a contrast with Cixous. If bodies and writing are multiple, then you don't forego one identity but sort of add on to identity, or realize all of the identities which make up each person.

    1. in-vention

      Even though this was originally French, I think use of the word "invention" is interesting. In rhetoric, invention is more along the lines of coming up with a topic, but the type of invention here is creating a new type of writing which would in turn disrupt hierarchies.

  7. Feb 2017
  8. Jan 2017
  9. Jun 2016
    1. Whereas topical forms of invention rely on fixed, generic heuristics, and predetermined analytical methods, choric forms prioritize the unpredictable, affective elements of personal experience across particular places and times as central to the inventive process.1 Our synthesis of the scholarship concerning choric invention identifies four primary principles: first, the consideration of space and place as agentive entities rather than as mere backdrop for human action; second, the juxtaposition of subjective experience against objective history; third, and quite similar to the second, a resistance to synthesis in favor of multiplicity; and fourth, and for our purposes here most important, its inability to be codified into a predetermined, stable, or teachable system.

      a nice summation of work on chora and choric invention. I wonder, though, how mobility might be added to this list. Thomas Rickert makes an interesting case for the ongoing attunement to ambient environments via a choric mode of thinking.

  10. Feb 2014
    1. Invention is a process that builds on prior thought, which is why the patent process INTELLECTUAL PROPERTY: POLICY FOR INNOVATION 9   requires disclosure of means and methods. For this reason, this paper will accept that intellectual property fails the Lockean Proviso, as suggested by Menell (1999, p. 129 ).
  11. Nov 2013
    1. It seeks a new realm and another channel for its activity, and it finds this in myth and in art generally.

      the stimulus for progress inventiveness

    2. Thus the genesis of language does not proceed logically in any case, and all the material within and with which the man of truth, the scientist, and the philosopher later work and build, if not derived from never-never land, is a least not derived from the essence of things.

      If language originally evolved as a tool of preservation, its roots are naturally based in self-interest for purposes of survival. That hasn't changed, we still rely on language and its conventions for survival. The point being, that we tend to forget that definitions and conventions are based in, derived from, arbitrary inventions.

    1. invention is a process which supplies arguments, whereas arrangement is a different process which organizes arguments.

      The definitions of invention and arrangement.

    2. Quintilian decrees that there are five parts to the art of rhetoric - I shall talk about these afterwards - invention, arrangement, style, memory, and delivery.

      Quintilian's five parts of rhetoric.

  12. Sep 2013
    1. But I urge all who intend to acquaint themselves with my speech, first, to make allowance, as they listen to it, for the fact that it is a mixed discourse, composed with an eye to all these subjects; next, to fix their attention even more on what is about to be said than on what has been said before; and, lastly, not to seek to run through the whole of it at the first sitting, but only so much of it as will not fatigue the audience.16

      Pay attention to what is about to be said is a never ending task.