“…In doing so, Woodmansee has influentially argued, they "minimized the element of craftsmanship […] in favor of the element of inspiration, and they internalized the source of that inspiration" in themselves, 39 inaugurating the emergence of the notion of the author as an autonomous individual who produced novel works "inspired by 'originality,' 'sincerity,' or 'genius.'" 40 As Christine Haynes has commented, the "genius" model of authorship became "such a fixed component of the modern consciousness that even the most self-conscious and critical commentators" still find it "difficult to view authorship in any other way." 41 On its introduction, however, it was dangerously at odds with the material realities of the print marketplace.…”
Section: I: From Craftsman To Machine From Materials To Contentmentioning
This article reconsiders the role of compiling in the modern history of authorship. Nineteenth-century readers viewed compiling as the purest form of "book-making," a mechanistic, market-oriented model of authorship that stood in opposition to authorial genius. The article examines these authorial models' intertwined origins in emergent industrial capitalism, and argues that book-making retained currency as a model into the early twentieth century partly because unattributed text reuse remained common. It also argues that in the aggregate, unattributed text reuse had epistemic and informational effects that anticipated challenges we are grappling with following the development of large language models.
“…In doing so, Woodmansee has influentially argued, they "minimized the element of craftsmanship […] in favor of the element of inspiration, and they internalized the source of that inspiration" in themselves, 39 inaugurating the emergence of the notion of the author as an autonomous individual who produced novel works "inspired by 'originality,' 'sincerity,' or 'genius.'" 40 As Christine Haynes has commented, the "genius" model of authorship became "such a fixed component of the modern consciousness that even the most self-conscious and critical commentators" still find it "difficult to view authorship in any other way." 41 On its introduction, however, it was dangerously at odds with the material realities of the print marketplace.…”
Section: I: From Craftsman To Machine From Materials To Contentmentioning
This article reconsiders the role of compiling in the modern history of authorship. Nineteenth-century readers viewed compiling as the purest form of "book-making," a mechanistic, market-oriented model of authorship that stood in opposition to authorial genius. The article examines these authorial models' intertwined origins in emergent industrial capitalism, and argues that book-making retained currency as a model into the early twentieth century partly because unattributed text reuse remained common. It also argues that in the aggregate, unattributed text reuse had epistemic and informational effects that anticipated challenges we are grappling with following the development of large language models.
“…Another adinkra maker also spoke of the creation of new designs with some ambivalence. He viewed them as the outcome of a natural process of individual inspiration in terms very similar to those of the “Romantic author” at the heart of copyright law (Haynes ; Rose ). However, he seemed to see such new designs almost as a dilution of the elders' work when he stated:[With] God too, it is a vision.…”
In successfully lobbying for the expansion of the copyright protection term, culture industries in the United States have used one of the temporal dimensions of intellectual property law to strengthen their control over the circulation of cultural goods. There is another less obvious way that time factors into the regulation of cultural products, and this has to do with the modes of temporality within which those products are made and their circulation regulated. In Ghana, where certain cultural products are protected as “folklore” under copyright law, cultural goods from one kind of temporality enter a regulatory framework that belongs to another. In this article, I examine these two ways of organizing time and argue that differences in ways of conceptualizing time also factor into the exercise of power over cultural products. I further argue that the Ghanaian case provides resources for radically rethinking intellectual property law.
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