Assemblage is a concept that has its origins in the work of Picasso, but has since grown in import in the field operations of Rhetoric and Composition, primarily informed by two pairs of scholars. On the theoretical end, Deleuze and Guttari first articulated a philosophy of assemblage that functions across two axes, those of expressions and territory. The axis of expressions concerns complete compositions, conceptualizing them as being composites of both physical materials and semiotic meanings. For example, a book is more than just the words assembled to convey information: it also comprised of ink, paper, and binding materials, as well as being a product of machinery for typesetting, printing, etc. Taken together, compositions are created by imbuing materials with cultural meaning in a specific context, which brings us to the axis of territory. When a composition is in its original context it is “territorialized,” but as texts circulate, other people will take the whole text, or maybe bits and pieces, and move it to new contexts, de-territorializing it to a degree; the further from the original context, the more de-terriotiralized a text becomes. For example, the use of Kuhnian paradigms to argue for a Creationst view of science de-territorializes Thomas Kuhn’s work in scientific philosophy. Deleuze and Guttari’s axes provide theoretical grounding for assemblage, but leave the act of assembly fairly open-ended. The other pair of scholars attempt to fill this gap. Johndan Johnson-Eilola and Stuart Selber articulate composition as assemblage in their article “Plagiarism, Originality, and Assemblage,” defining assemblages as “texts built primarily and explicitly from existing texts to solve a writing or communication