MOVING IMAGE
ARCHIVING & PRESERVATION PROGRAM
HANDLING
COMPLEX MEDIA, H72.1805
http://www.nyu.edu/tisch/preservation/program/13spring/HCMsyllabus_13.htm
Draft Version 1.77 Ð 5/8/13
see changes to
syllabus at http://www.nyu.edu/tisch/preservation/program/13spring/HCMsyllabus_13.htm
Spring 2013 - Wednesdays, 12:30 pm Ð 4:30 pm, MIAP
Lab, 665 Broadway.
Instructor: Howard Besser
howard@nyu.edu
GOALS:
This seminar will increase studentsÕ
knowledge of primary issues and emerging strategies for the
preservation of new media and complex digital works. Students will
gain practical skills with identification and risk assessment
for works as a whole and their component parts, particularly
in the areas of audio and visual media and digital,
interactive media projects that are stored on fixed media,
presented as installations, and/or existing on networks.
Examples of production modes/works to be studied are
animations (individual works and motion graphics) web sites,
games, interactive multimedia (i.e., educational/artist
CDROMs), and technology-dependent art installations. Students
will test principles and practices of traditional collection
management with these works, and evaluate tools and
methodologies used by others. Wheras the previous course
(Digital Preservation) focuses primarily on the kind of
approach that organizations (typically libraries or archives)
use to preserve large batches of digital works at a time, this
course instead focuses primarily on boutique approaches, where
significant time is spent preserving each individual digital
work (the approach taken mainly by art museums).
EXPECTATIONS: Each student
will complete two assignments, one individually and one where
they are responsible for very specific sections of a larger
group project. Attendance at all classes is expected; more
than one unexcused absence will affect grading. Grades will be
based on a combination of class preparedness and participation
(40%) and assignments (60%).
- Individual--Assignment #1: Research
into preservation and documentation strategies an
interactive CD-ROM, for a game, or other complex media work
(with prior instructor approval). If possible, also do
a forensic analysis of the work. Each student will choose a
work to evaluate, drawing from the Voyager collection, the
Digital Game Canon, or other sources. Students will draw on
both traditional audiovisual preservation principles and
developing methodologies to produce a thorough report
including such areas as descriptions of the work and its
context, dependencies and risks, projected future scenarios,
available information and resources, and the best methods
for maintaining key elements such user interface,
interactivity and Ôlook and feelÕ. Due date:
April 10.
- Class as a whole--Assignment #2: Case
studies on various aspects of an installation art work at
the the Museum of Modern Art. We
will be focused on the assively multiplayer online
role-playing game (MMORPG) Eve Online, in which thousands of
people can play in the same created space
online, interacting with one another and outlining
narratives, characters, and worlds. These games, which were
not possible before the Internet, exist in virtual reality
and live, grow, and evolve following their own rules and
collective instincts; the experience is one that cannot be
achieved in any other form of entertainment or design. Each
student will be responsible for a section of resulting
report(s) and/or will serve as editor of the report(s). Due
date: May 8.
Please note that all written work must utilize
proper citations, including proper web citations. Works that
do not include complete citations will be returned for
revision and considered late. Please carefully read the
Plagiarism Advisory at the end of the syllabus.
MIAP Digital Archive: In addition to
submitting assignments in print form, all course
papers/projects will be submitted in electronic form via
Blackboard in the Discussion area. The materials will be made
part of the MIAP digital archive in a private space for
faculty use, and on the MIAP web site, unless you request the
work be restricted. If Word documents, please save as a .rtf.
Standard file naming convention: 13s_1805_smith_a1.rtf
Restricted file naming convention:
13s_1805_smith_a1_x.rtf
Where:
13s = spring 2013
1805 = class number
smith = author's last name
a1 = assignment number 1
x = restricted work designation
LOGISTICS AND ADDITIONAL
RESPONSIBILITIES:
This course will have a presence on
ÒNYU ClassesÓÐ Please log-on to look there for
articles that are not available on the open web (under
ÒReadingsÓ).
Access to Labs: Please see
http://www.nyu.edu/its/labs/ for locations and descriptions of
NYUÕs computer labs if needed for your research. In addition,
by appointment, the MIAP ÔOld Media LabÕ may be used.
Cell phones: Turn completely off
during class as they may create problems with classroom audio.
Class 1:
January 30--Introduction
Topics/activities:
- Syllabus review
- Review of last semesterÕs Digital
Preservation class, issues of different types of cultural
institutions, plus comparison with other approaches and
tools. And what else didn't you learn yet?
- Presentation and discussion of
methodology for risk assessment developed through the EU
project ÒInside InstallationsÓ (see next weekÕs reading)
- Brainstorming definitions and
examples of interface and interactivity as two key
characteristics that will need to be evaluated when
preserving multimedia, the web, installation and other
complex works.
- Lab work: Analysis of software and
directories in several 1990s multimedia works, with goal of
increasing skills in identification of production processes,
the characteristics of native environments, software
dependencies and directory structures, to build an
understanding the ÒanatomyÓ of these works. By the end of
class, we will have an agreed upon set of specs for optimum
viewing of several legacy CDROMs. We will also have analyzed
if we have the appropriate hardware/software in our ÒOld Media LabÓ to view them
optimally, and/or what is needed to do so.
Class 2:
February 6--Risk Assessment and
related general issues
Due this
class:
- Read for this class:
- Recommended as follow-up to last
class:
Topics/activities:
- Discussion for date/time for 2 hour
workshop and 4-5 hours exercises in building Finding Aids
using Archivist Toolkit
- Examination of non-technology (and
non-moving-image) works:
- Introduction to proposals and
projects from various communities for risk assessment,
documentation and preservation of complex works.
- Discussion of the readings, and
continuation with multimedia works from the 1990s,
discussing several ways to analyze these works.
Preliminary examination of Voyager CD ROMs.
- Computer Chronicles: Desktop Video
1990 (http://www.archive.org/details/desktopvideo)
- Computer Chronicles: Hypercard (1987)
[esp Bob Stein starting at 18:20] (http://www.archive.org/details/CC501_hypercard)
- Met Museum's new web video
series: 82nd And Fifth
(premiered this week)
Class 3:
February 13--Projects from the Art
Museum World
Due this
class:
- The
Tate's web page on Conservation
Ð time-based media
- Laurenson,
Pip
(2010). Shifting Structures,
Identity and Change in the Conservation and Management of
Time-Based Media Works of Art, Ph.D. Thesis, London:
University College, Introduction
- Real,
William A. ÒToward Guidelines for Practice in the
Preservation and Documentation of Technology-Based
Installation ArtÓ. Journal of the American Institute for
Conservation. Fall/Winter 2001. Vol. 40: No. 3.
- Laurenson,
Pip.
ÒAuthenticity, Change and Loss in the Conservation of
Time-Based Media InstallationsÓ in Tate Papers. 2006.
London: Tate Gallery. Accessed 2/10/13 at (http://www.tate.org.uk/file/pip-laurenson-authenticity-change-and-loss-conservation-time-based-media-installations)
- Laurenson,
Pip.
ÒThe Management of Display Equipment in Time-Based Media
InstallationsÓ in Tate Papers. 2005. London: Tate Gallery.
Accessed 2/10/13 at (http://www.tate.org.uk/file/pip-laurenson-management-display-equipment-time-based-media-installations)
- Miwa Yokoyama. Capturing the Artist Interview: Interview
Methodologies and Resources for Documenting and Preserving
Time-Based Media Art, MIAP Thesis, 2008. Read
the entire redacted thesis at NYU Classes. The
unredacted thesis is at (http://www.nyu.edu/tisch/preservation/program/student_work/2008spring/restricted/theses/s08_thesis_yokoyama.doc)
- In
preparation for our lab work, read:
- Messier,
Paul.
ÒDara BirnbaumÕs Tiananmen Square: Break-In Transmission: A
Case Study in the Examination, Documentation, and
Preservation of a Video-Based Installation.Ó Journal of the
American Institute for Conservation. Fall/Winter 2001. Vol.
40: No. 3.
- Laurenson,
Pip.
ÒDeveloping Strategies for the Conservation of Installations
Incorporating Time-based Media: Gary HillÕs Between
Cinema and a Hard PlaceÓ in Tate Papers. 2004. London:
Tate Gallery. Accessed 2/12/08 at http://www.tate.org.uk/research/tateresearch/tatepapers/04spring/time_based_media.htm
- Jimenez,
Mona.
ÒThe Artist Instrumentation Database ProjectÓ on web site of
the Daniel Langlois Foundation for Art, Science and
Technology. 2005. Accessed 8/1/05 at < http://www.fondation-langlois.org/flash/e/index.php?NumPage=708>.
- Re-familiarize
yourself with the forms previously provided from the
ÒMatters in Media ArtÓ site.
- Report on Feb
8 meeting: Copyright
Exceptions for Libraries in the Digital Age: Section 108
Reform
- MIAP
Housekeeping (thesis presentation conflicts, receipts, use
of 665 kitchen & conf room, etc.)
- Discussion
of Variable Media Initiative and of concept of Artists
Interviews, incl Art
Now! Talk
- Discussion of
general documentation, documenting condition, conducting
risk assessments, conducting artist interviews, and
documenting artistsÕ intent
- Discussion of
group projects examining and developing recommendations for
a time-based media art works in the collection of the Museum
of Modern Art
- Preliminary
examination of Voyager CD-ROMs (attempts to play, file
structure, etc.), and division of class into groups and
prioritization of which CD-ROMs to concentrate on
Class 4:
February 20--Computing, Animation
and related Graphics Issues
meet in Dead
Media Lab today, 721 Broadway
Due this class:
- Read
- Andrea Laue. How
the Computer Works in Susan Schreibman, Ray Siemens, John
Unsworth (eds.) A Companion to Digital Humanities, Oxford:
Blackwell, 2004 http://www.digitalhumanities.org/companion/view?docId=blackwell/9781405103213/9781405103213.xml&chunk.id=ss1-3-1&toc.depth=1&toc.id=ss1-3-1&brand=9781405103213_brand
- Matthew G. Kirschenbaum. "So the Colors Cover the Wires":
Interface, Aesthetics, and Usability in Susan Schreibman,
Ray Siemens, John Unsworth (eds.) A Companion to Digital
Humanities, Oxford: Blackwell, 2004 http://www.digitalhumanities.org/companion/view?docId=blackwell/9781405103213/9781405103213.xml&chunk.id=ss1-5-4&toc.depth=1&toc.id=ss1-5-4&brand=9781405103213_brand
- Robert Kolker.
Digital Media and the Analysis of Film in Susan
Schreibman, Ray Siemens, John Unsworth (eds.) A Companion
to Digital Humanities, Oxford: Blackwell, 2004 http://www.digitalhumanities.org/companion/view?docId=blackwell/9781405103213/9781405103213.xml&chunk.id=ss1-4-7&toc.depth=1&toc.id=ss1-4-7&brand=9781405103213_brand
- Geoffrey Rockwell and Andrew
Mactavish. Multimedia in
Susan Schreibman, Ray Siemens, John Unsworth (eds.) A
Companion to Digital Humanities, Oxford: Blackwell, 2004 http://www.digitalhumanities.org/companion/view?docId=blackwell/9781405103213/9781405103213.xml&chunk.id=ss1-2-10&toc.depth=1&toc.id=ss1-2-10&brand=default
Topics/activities:
- Lab work at 721 Broadway:
Examination of Voyager multimedia works in native
environments; identification of behaviors and user
interface/interactions; and development of ÒscenariosÓ to
predict how the work will look/feel/behave in other
subsequent computer environments. Exploration of migration
as a strategy. (1.5 hours)
- How Walt Disney Cartoons are
madeÑ1938? (http://www.youtube.com/watch?v=mhfp6Z8z1cI)
- The Process of Animation (http://www.youtube.com/watch?v=V7ZWeLLTqJw)
- The Magic of Disney Animation (With
Mulan's Mushu) at Disney Hollywood Studio (http://www.youtube.com/watch?v=DgC5ylrI-p4)
- Key-Framing Example: 3Ds Max
Tutorial - 21 Ð Animation (http://www.youtube.com/watch?v=kqQmwXCH6w8)
- Wireframe example http://www.sateeshmalla.com/blog/wp-content/uploads/boris_scary_full_01.jpg
- Raster vs Vector
- 3D Animation Overview Tutorial (http://www.youtube.com/watch?v=Aks7qowB-U0)
- How We Make A Movie: PixarÕs
Animated Process (http://www.pixar.com/howwedoit/)
now at http://web.archive.org/web/20120510074436/http://www.pixar.com/howwedoit/
- ÒToy Story 3: After the Golden
AgeÓ, Toronto Sun, June 13, 2010 (http://www.torontosun.com/entertainment/movies/2010/06/11/14350796.html)
- Viewing of historical examples of
innovations in vector graphics, 2-D and 3-D animation
resulting in developments such as games, effects, motion
graphics, and computer animation, and production within
and outside of virtual environments
- Ray Tracing http://en.wikipedia.org/wiki/File:BallsRender.png
and http://en.wikipedia.org/wiki/File:Glasses_800_edit.png
- Discussion of various 3D animation
software, directories and players, and resulting files in
common use for animation and motion graphics
- Registries and emulations of older
software
- Introduction to Digital Forensics
- Examination of works in the Digital
Game Canon Ð are there categories of works that have
similar dependencies?
- Introduction of Assignment #1.
- Annimation Issues (continued)
- Visual Music
- John Whitney
Class 5:
February 27--Digital Forensics
- Before class, read
- Massive
Online Multi-player Games
-
Executive Summary from Jeremy Leighton
John. Digital Forensics and Preservation. DPC
Technology Watch Report 12-03 November 2012, Digital
Preservation Coalition (UK) (http://dx.doi.org/10.7207/twr12-03)
- Chapter 1
and Chapter 3 in Kirschenbaum,
Matthew G. Mechanisms: New
Media and the Forsenic
Imagination. Boston: MIT.
2008.
- Kirschenbaum,
Matthew G., Richard Ovenden and
Gabriela Redwine. Digital
Forensics and Born-Digital
Content in Cultural Heritage
Organizations. Washington
DC: Council on Library and
Information Resources. December
2010. Accessed 1/13/13 at http://www.clir.org/pubs/abstract/reports/pub149
- Bit
Curator
- Topics/Activities
Class 6:
March 6Ñvisit to MoMA
- meet at Museum of Modern Art, Film Entrance, 11 W 53rd St.
Be there by 12:45 or you won't find the rest of us
- Before class, review Eve Online
- see instllation of Eve Online
- Talks by Ben Fino-Radin and Peter Oleksik about their jobs
at MoMA
- Peter Oleksik introduces Eve Online
Class 7:
March 13Ñ
Digital Forensics--Bit Curator
exercises
GamesÑSophisticated approaches to
archiving/preservation
Due this class:
- Guest:
12:30-2:15 Walter Forsberg,
NYU Mellon Fellow
- exercises with Bit Curator
- Note: Please bring your Laptop to
class this week for the classroom exercises
- Guest:
2:30-4:30 Jerry McDonough,
Associate Professor, University of Illinois, PI on
Preserving Virtual Worlds
- discussions
on game preservation (this is your one chance to ask him
questions for your EVE Online assignments
- Before class Read:
- Nick Montford & Ian Boqost,
Racing the Beam: The Atari Video Computer System (first
3 chapters)
Familiarize yourself with:
Browse:
News articles:
- A
Word With: Shigeru Miyamoto--Divining What's Next for
Video Games, NY Times, March 11, 2013
- Harlem
Shake music--Surprise
Hit Was a Shock for Artists Heard on It, NY Times,
March 10, 2013
- ÒBetter
Living Through GamingÓ, NY Times, Feb 14, 2011 (http://bits.blogs.nytimes.com/2011/02/08/one-on-one-jane-mcgonigal-game-designer)
- ÒAn
Arcade to Make Gamers CryÓ, NY Times, Feb 13, 2011 (http://www.nytimes.com/2011/02/13/nyregion/13joint.html)
- ÒEnthusiasm
over Pinball At Full Tilt in Bay AreaÓ, San Francisco
Chronicle, Feb 6, 2011 (http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/02/04/PKQF1HDMH9.DTL)
- Computer
Chronicles: Amiga - Disney Animation Studio-1990 (http://www.youtube.com/watch?v=qSeYivHZpB8)
- Disney's
Aladdin (SuperNintendo) - Philippe Henry-2005 (http://www.archive.org/details/DisneysAladdinSNES)
Topics:
- Advanced
discussion on Games
- Discussion of
various projects to archive and preserve games. What aspects
are they addressing and what are the gaps?
NO CLASS
March 20Ð-Semester break
Class 8: March
27--CAD Issues, Emulation Issues
Due this class:
You should read ahead, as you will have both
readings and your project due the following week
Smith,
MacKenzie. 2009. "Curating Architectural 3D CAD
Models", International Journal of Digital Curation 1:4
(http://www.ijdc.net/index.php/ijdc/article/view/105)
Read the
following on Emulation Issues:
- Granger, Stewart. ÒEmulation as a
Digital Preservation StrategyÓ. D-Lib Magazine. October
2000. Vol. 6: No. 10. Retrieved 2/5/08 at
<http://www.dlib.org/dlib/october00/granger/10granger.html>
- Dutch National Archive. Emulation:
Context and Current Status. 2003. Retrieved 1/28/11
at
http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.132.5566&rep=rep1&type=pdf
- Read the following from the
exhibition Seeing Double: Emulation in Theory and Practice
found here:
http://www.variablemedia.net/e/seeingdouble/index.html
- Solomon R. Guggenheim Museum.
ÒMagic Bullet or Shot in the Dark?Ó from transcripts of
the 2004 symposium Echoes of Art: Emulation as a
Preservation Strategy published on the web site of the
Guggenheim Museum. 2004. Accessed 8/1/05 at <http://www.variablemedia.net/e/echoes/index.html>
- Watch the presentation on the
Forging the Future Project http://www.docam.ca/en/?p=258
- Recommended:
- Rothenberg, Jeff. Avoiding
Technological Quicksand: Finding a Viable Technical
Foundation for Digital Preservation. Washington,
DC: Council on Library and Information Services. 1999.
Accessed at
<http://www.clir.org/pubs/reports/reports.html>.
- Dimitrovsky, Issac. Final report,
Erl-King project. On web site of the Variable Media
Initiative. 2004. Accessed 8/1/05 at http://www.variablemedia.net/e/seeingdouble/report.html.
Topics/activities:
- Guest (3:00): MacKenzie
Smith, Dean of Libraries, University of California-Davis,
speaking on preservation of Computer Aided Design (CAD)
architectural files
- Approaches to documentation of
complex media works and preservation actions. What forms
of documentation are useful and appropriate for complex
media works? Are there aspects of available tools that we
can utilized as we examine and migrate interactive
multimedia works? Practice using variable media and
forging the future tools.
- Discussion of various
interpretations of emulation from everyday uses to its
discussion/development as a preservation strategy by
planners of major institutional projects. Hands-on work
with downloadable software emulators.
- Discussion
of final group project, and dividing into topics, and
dividing into groups
- The
Nerd as Auteur in BioShock Infinite, NY Sunday
Times, March 24, 2013
Class 9: April 3--Museum & Archives' Approaches to
Handling Complex Media Works of Art, part 2
Due this class:
- Your
2nd group report on EVE Online
- Come
prepared with interview questions for MoMA project.
- Review
the Variable Media Questionnaire (link to be provided on
Blackboard site)
- View
video of keynote address of artist Vera Frenkel for the
DOCAM summit: Rules for Letting Go, and the web sites for
background on the artworks. http://www.docam.ca/en/?p=95
- Additional
readings relating to DOCAM may be required.
- Read:
- from
the Archives world: Born
Digital: Guidance for Donors, Dealers, and Archival
Repositories, Media Commons, January 2013
- _______.
Guide to Good Practice: Artist Interviews. 1999.
International Network for the Conservation of Contemporary
Art: Amsterdam. Accessed 1/28/11 www.incca.org/files/pdf/resources/guide_to_good_practice.pdf
- ______.
Decision-making Model for the Conservation and Restoration
of Modern and Contemporary Art. 1999. Foundation for the
Conservation of Modern Art/Netherlands Institute for
Cultural Heritage: Amsterdam. Accessed 1/28/11
www.sbmk.nl/uploads/decision-making-model.pdf
- Case
study on Bruce NaumanÕs Mapping the Studio II color
shift, flip, flop, & flip/flop (Fat Chance John
Cage) http://www.tate.org.uk/research/tateresearch/majorprojects/nauman/home_1.htm
- Guggenheim
Museum. Permanence through Change: The Variable Media
Approach. MontrŽal: Daniel Langlois Foundation for
Art, Science and Technology and New York: Guggenheim.
Accessed 9/3/04 at
http://www.variablemedia.net/e/preserving/html/var_pub_index.html
p. 47 Ð 69; 70 Ð 84; 92 Ð 107.
- DOCAM
- Continuation
of tools for documentation and documenting artistsÕ
intent.
- Talk
about interview questions.
- Group
work on the installations. What information has been
gathered? What is needed? Where are the vulnerabilities in
the works? What actions should be taken?
Topics:
Class 10: April 10-- Museum Approaches to Handling
Complex Media Works of Art, part 3
Due
this class:
- Research on
assigned portion of the installations.
- re:
issues of Slides in art museums, read up on Tate
project on 35mm Slide obsolescence:
Topics/activities:
April 17--Work session on Archivists' Toolkit at Bobst Library
(conducted by Janet Bunde and Nancy Cricco of University
Archives)
- Session will be 2:30-4:00 in lab PC2 (on lower level
1 in Bobst Library). Please be prompt. You have the rest of
the time to work on your own projects.
Class 11: April 24--CANCELLED (Guest
Instructor Walter ForsbergÑfurther work on BitCurator
&
Digital Forensics)
Class 12: May 1-- Digital Forensics Privacy Issues, FIAF
Congress, EVE Online Report
Due
this class:
- Brief oral
report on analysis of your own hard disk
Topics/activities:
- Discussion on
privacy redaction if your own hard disk were acquired by an
archive.
- Debrief on
MoMA and examination of EVE Online. Discussion of Outlne.
What needs to be done to complete reports on the work?
Students will discuss the visit, the status of projects, and
additional research needed. Also, what are the implications
of the recent announcement of expansion of the game into new
areas?.
- Discussion of
2013
FIAF Congress
Class 13: May 8-- Final Project run-through and Course
Summary
Due
this class:
á
Report on EVE Online.
Due
this class:
- Present final
report for the installation projects to museum partners.
Discussion about areas of further investigation by the
museum.
- Wrap-up on
concepts and methodologies. Based on the semesterÕs work,
where are complex media works found and who should collect
them? Can the works be collected by libraries, archives and
libraries, or survive in independent and ad hoc archives?
What is the role of creators and what collaborations are
possible with creators? What are some suggestions for
longevity of these works?
Topics/activities:
- EVE Online
- Digital Forensics with retired professor's disk
- FIAF discussion & photos
- AEO
Light discussion
- Databrary
meeting and update
WHERE DO
THESE GO?
- Discussion
of
Variable
Media
Initiative and of concept of Artist Interview
- Familiarize yourself with:
- Artbase, a project of Rhizome.
Read the report on preserving Artbase by Richard
Rinehart http://rhizome.org/art/, and come prepared to
talk about one web site that you found particularly
interesting or challenging for preservation.
- Preservation Risk Management for
Web Resources: Virtual Remote Control in Cornell's
Project Prism, D-Lib 8:1, Jan 2002,
http://www.dlib.org/dlib/january02/kenney/01kenney.html
- Minerva: Web Archiving and
Preservation Project of the Library of Congress
http://lcweb2.loc.gov/cocoon/minerva/html/minerva-home.html
- Library of Congress Web Capture
http://www.loc.gov/webcapture/
__________________
Plagiarism
Advisory Ð Read carefully
NYU
Plagiarism
Advisory: Plagiarism and other violations of published NYU
policies are serious offenses and will be punished severely.
Plagiarism includes:
- presenting or
paraphrasing a sentence, phrase, or passage of a published
work (including material from the World-Wide Web) in a paper
or exam without attribution of the source,
- submitting a
paper written by someone else,
- submitting as
your own work any portion of a paper or research that you
purchased from another person or commercial firm, and
- presenting in
any other way the work, ideas, or words of someone else
without attribution.
These
are punishable offenses whether intended or unintended.
You
are encouraged, of course, to read widely and to discuss
research with others; but if you use ideas that come from
others, you must acknowledge them in writing.
When in doubt, acknowledge. Other
offenses against academic integrity at NYU include:
- submitting
your own work toward requirements in more than one class
without the prior permission of the instructors,
- collaborating
with others on assignments without the permission of the
instructor,
- and giving
your work to another student to submit as his or her own.
If
you have any questions about how to cite sources, about what
constitutes appropriate use of a text, or about other matters
of academic integrity, discuss them with your instructor.
The
Writing
Workshop at NYU offers "A Statement on Plagiarism,"
www.nyu.edu/classes/op/writing/CourseBuilder/plagiarism/def_plagiarism.htm
and
NYU's
"Statement
on
Academic Integrity" (from which the above text is taken).
www.nyu.edu/cas/ewp/html/policies___procedures.html
A
compendium of practical information about plagiarism is Sharon
Stoeger, "Plagiarism" (2006) www.web-miner.com/plagiarism. Among the resources she offers are
Northwestern University's "How to Avoid Plagiarism" (2007)
www.northwestern.edu/uacc/plagiar.html, and Indiana
University's tutorial "How to Recognize Plagiarism" (2005)
www.indiana.edu/~istd.
And
here is the policy written by the Tisch School of the Arts,
found in its Policies and Procedures Handbook, 2008-2009,
pages 43-44, Plagiarism
Plagiarism
is
presenting
someone
else's
work as though it were your own. More specifically, plagiarism
is to present as your own:
- A sequence of
words quoted without quotation marks from another writer
- A paraphrased
passage from another writer's work
- Facts, ideas
or images composed by someone else
When
you take notes, summarize, rather than paraphrase. If you
quote anything, use quotation marks in your notes and take
down the page number of the quotation to use in your footnote.
All electronic sources of information must be properly cited.
Students are expected, often required, to build their own work
on that of other people, just as professional researchers and
writers do. Giving credit to someone whose work has helped one
is courteous and honest. Plagiarism, on the other hand, is a
form of fraud. Proper acknowledgment and correct citation
constitute the difference. To publish plagiarized work is
against the law. People in the professions and in business who
pass off other people's work as their own are liable to be
discredited and ostracized. University students guilty of
plagiarism are subject to disciplinary action ranging from
failure in the course for which plagiarized work was submitted
to expulsion from the University. It is crucial that
acknowledgment of sources be accurate and complete. To avoid
unintentional plagiarism:
- See a writing
handbook or other standard guide for accepted forms of
documentation.
- Use more than
one source for information, if at all possible.
- Point out
agreements and disagreements between sources on important
points.
- Work out your
own organization of material gleaned from research.
- When in doubt
whether your acknowledgment is proper and adequate, consult
your instructor. If possible, show the instructor both the
sources and a draft of the paper in which you are using
them.
Plagiarism
is
a
breach
of
academic honesty and integrity; it is considered among the
most serious of offenses. When an instructor suspects
plagiarism, s/he has several options. In most cases, the
instructor will require the student to totally redo the
assignment. The instructor may also consult the chair of the
department regarding disciplinary action and assign a grade of
F for the work or, if the work is the main basis of the grade
for the course, a grade of F for the course. All cases of
plagiarism will be reported to the Associate Dean for Student
Affairs. Repeat cases of plagiarism may result in dismissal
from school.