13 Matching Annotations
  1. Mar 2019
  2. 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.
  3. 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.

  4. Feb 2017
  5. Jan 2017
  6. 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.

  7. 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 ).
  8. 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.

  9. 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.