Cinnabar and Alabaster

passages:
84. collaborators who are "overly careful" can become listeners who don't "allow [themselves] to speak"; "what happens when one writer doesn't get to speak her or his thoughts and is forever contaminated by the other's voice?"; "consensus in collaborative efforts seems to us the unhappy version of the story. instead of two voices speaking harmonically or discordantly only one voice is heard"
86. their alternating italicizing are a representation of "Weathers' doublevoice technique" which "enables [them] both to provide information and to commentate on that information, allows [them] to make a statement and invert it, encourages [them] to seriously explore an idea and playfully critique it...allows [them] to share one text and fully participate in its creation, complete with [their] disagreements and second thoughts": complexity & confusion have a home here.
88. dissoi logoi = "the double-sided argument": conversational models of collaborative learning forward "exchanges," "misunderstandings," "corrections," "interruptions," "revelations," "explorations," & multiplicity: "cacophony, a carnival, heteroglossia"; when conversants aren't willing to disagree there's not much point in talking, & "there doesn't seem to be much point in two or three or four writers acting like one, either, when they have multiple opinions that don't cohere to a thesis, when their explorations have revealed more than one answer"
89. Trimbur: consensus isn't an end but is a means through which "humans...live and work together with differences"; "consensus for Plato was where conversation ended. although much of our writing seeks to tell what it knows, sometimes we write in order to explore what we don't. perhaps this is why we collaborate, to foreground the conversations we have within ourselves and with each other"; on the down side, dissoi logoi "has erroneously veen viewed as a will to power...tainted with notions of conflict and hostility"
91. neither writer is the italicized ("dissenting/diabolical/evil" or "comic") voice or the "straight" voice; both write within both, and at conferences they take turns playing each role.
92. "to summarize, consensus in collaborative writing happens; forced consensus is a bad influence on imaginative scholars," and having "resorted to using double voice and dissoi logoi" has enabled them to write more and more completely/complexly than would have been otherwise possible.