- "Increasingly, we have different compositional means available: new tools for the mechanical reproduction of text and an on-going electronic salon in which to circulate them" (180).
- "It's writing outside the bounds of classroom composition, writing as found palimpsest: course notes, say, overwritten with an ambiguous personal message, or the barely – decipherable to-do list scrolled on the back of the parking ticket – extracurricular assignments gathered from the grounds of the Campus of Interzone University. Running already ruptured, torn, pre-inscribed: book catalog at all and a life emerges" (184).
- “One can now be a compositionist-at-large: one needs only skills-in-general, a kind of meta-aesthetic" (185).
- Composition is "now defined in terms of choosing rather than fabricating, all material is equal; it's whatever catches the eye...Material is chosen not because it's a privileged text, a 'difficult masterpiece' from the 'history of writing,' but because it's around, on hand it's whatever stands out from the endlessly-shifting screening before one" (187).
- "New composing technologies mean the media may not have had time to be practiced, perfected, conventionalized, ritualized. What aesthetic remains lies in capturing, choosing, from what is in front of his senses at the moment of writing, the hurried to snapshot of life on the run, not a stylized drawing. 'The important thing then is just this matter of timing, the snapshot effect'" (194).
- The new composition is teleintertext: inter means "mak[ing] use of at least two texts" and tele refers to working across different spaces of time (195-6)
- The new composition is not "*materially* different. It involves picking something up from an earlier period and giving it a new function, and a new thought for that object, adapting to your own work" (196).
- The new composition "is not a solution (not 'what makes writing good'), but a sign (what makes writing)" (200).
Sirc is "interested in certain writing, writing done by anyone – whoever: useless, failed, nothing – writing by some nobody that turns out to be really something". In this chapter, Sirc compares what he calls the modern understanding of composition with the postmodern. He makes the following claims about the postmodern conception of composition:
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