ECONOMY
! An MBA of Poetry ! !
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! ! ! module i downsizing module ii outsourcing module iii upskilling
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Economy
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module i downsizing
363 writing as Fan fiction Darren Wershler
! writing and fanfiction are the Spocks of their universes !
If you’re reading this book, you probably already know more about fanfiction than I do. What I know about is a thing called writing. And I think that one way to think about writing is as fanfiction about art. Another might be to say that, in universes that overlap slightly, both fanfiction and writing play the role of Spock. What I want to consider in this essay is the value of a kind of exchange. In the event of storm and accident, or its equivalent, is there anything that writers of fanfiction and writing might learn from each other? It’ll take me a few hundred words to get to the point where we can find out.
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364 writing is a term that has come to describe the work that my friends and I have produced over the dozen years. One example is Kenneth Goldsmith’s Day, which consists of the text from the September 1, 2000 issue of the New York Times —quotes, ads, captions, and all—reset in type, reproduced line by line, and bound as a book, with Goldsmith listed as the author. In more terms, writing is a description for a bag of writing techniques used by people who are interested in the impact of media on the process, the function of authorship, and the economy of publishing. This sort of writing is in the sense that it draws much of its inspiration from the things that were happening in the world from the 1960s to the 1970s. art is a category, but Alexander Alberro usefully describes it in terms of four “trajectories”: a deemphasizing of the importance of the artist’s skill and the cohesiveness of the product; an emphasis on the importance of text over images; a shift away from the aesthetically pleasing toward the conveyance of that invention we call information; and a questioning of how art is “supposed” to be framed, and the notion that there is a context (like a gallery) in which people are supposed to
encounter it. writing follows these trajectories because, with a few exceptions, they had been largely ignored by writers. Before there was a consensus about what it was or what was going to be called, what writing did was to draw attention to the aspects of writing that literature usually neglects: reports, transcripts, feeds, quotes, Usenet posts, and so on. These texts are the “matter” of literature; they make up the bulk of everything that’s written, but we habitually pretend that they don’t matter in any capacity other than the moment. John Guillory describes texts as belonging to what he calls “genres”. In order to use them to convey that invention we call “information”, we have to pretend that they have no value of their own that might taint it. By repackaging swaths of information in media and formats other than the ones in which it initially appeared –again, think about Goldsmith reformatiing the New York Times as a book—writing drew attention to the fact that writing is. It is in that it always says more than we intend and we assign value to it in keeping with sets of
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365
factors that sometimes have little to do with the content. What writing does now is produce more poetry. Over thirty years ago, poet and publisher Bob Cobbing remarked that “there is no point whatsoever in adding to the quantity of poetry in this world. The world has quite enough poetry already. Probably too much. Far too much. The excuse for being a poet today is to add to the quality of poetry, to add a quality which was not there before”. From Cobbing’s perspective, the job of the writer is not to produce more of something already, but to constanty shift approaches and techniques, literally making difference. Rather than simply adding to the bulk of books on the shelf, writing, like Cobbing’s work –and I’d argue, like fanfiction— reframes chunks of culture in a context than they originally appeared, so that we can think about just how they actually are. As is the fate of all interventions, writing no longer exists in the margins of culture; it has become. Writers have performed in the Whitney Museum of American Art and the White House, and Goldsmith was selected as the Museum of Modern Art’s Poet Laureate for 2013. Say what you want about these institutions and whether or not writing deserves a place in them, but they’re very definitely not the margins. writing has also produced the signs of legitimacy: two anthologies, Against Expressionism: An Anthology of Writing and I’ll Drown My Book: Writing by Women. writing has become a tent, and all sorts of people have laid claim to it (which is not particularly surprising, for reasons I’ll get to shortly). From my perspective, this isn’t an occasion for either celebration or mourning. I’m trying to provide a description of a process of circulation that has happened many times before and will happen many times again. Monet was a radical before he was a calendar. What interests me—and is of relevance to both writing and fanfiction—is what happens next: how a community based around a practice deals with its success. It’s certainly to argue that fanfiction follows at least some of the trajectories of art, too but that would take more space
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366 than I have here. The similarities between fanfiction and writing that I want to consider right now have nothing to do with tone, style, or matter. What interests me are similarities in the practices of their communities, and how
policing keeps them. In some respects, I think that writing has more to learn from fanfiction than the reverse.
! writing, like fanfiction, grows out of kinds of communities. !
In his introduction to the UbuWeb Anthology of Writing, Craig Dworkin coined the term writing in its usage. (It has since been revised and expanded for Against Expressionism.) Dworkin emphasizes that even though the majority of the anthology’s writers “were participants in the set of practices that came to be known as ‘Art’” (see Lippard), “writing” does not refer exclusively to “writings by “artists.” Instead, Dworkin is after something that he calls “distinctly writing”. This maneuver allows for a bit of plagiarism on Dworkin’s part. The invention of the category of “distinctly writing” means that regardless of era, nationality, form, politics, or allegiances, Dworkin can now claim the works of modernists like Alfred Jarry, Gertrude Stein, and Samuel Beckett, as well as texts from individuals and groups, such as Fluxus and the Oulipo. What’s going on here is an attempt to imagine a community. communities try to situate themselves within a history of the kind of work that they admire. Dworkin’s invention of the notion of “distinctly writing” means that he can expand his canon into the present, to include works by writers. Those people, whose names have been listed in combinations at times and places (Dworkin included), are my friends, and here we arrive at the crux of the matter. Regardless of where it is now or what was happening elsewhere (and I know for a fact that in Vancouver and England at least, communites were developing their ideas about what could eventually be included under the tent of writing), my experience of writing began with friendships more than with a sense of affinity. If you don’t like the people you’re talking to and writing with and for, you find another group. (I suspect this of communities and friendships, too.
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367 resemblances are at first, and develop as you and your friends discuss and debate, then work to find commonalities and ponder differences with the communities you encounter along the way. Dworkin’s essay, of course, first appears in the context of UbuWeb. The thing to the home of writing, UbuWeb is a repository of art, writing, audio, and video: everything from flyers and art to copies of films by directors like Gus Van Sant. Much of the material on UbuWeb infringes on copyrights. All of it has been collected and posted without permission and has been maintained through thousands of hours of labor without remuneration--except, perhaps, in the form of reputation. I’d argue that this sort of categorization, sorting, and positioning of one’s heroes in order to contextualize one’s work is functionally from activity, including fanfiction. What makes the difference between writing and fanfiction are the fields in which they occur.
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writing is located within literature and is about wanting out. Fanfiction is located without literature and is about wanting in.
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theorist Charles Jencks expands on Umberto Ecco’s notion of “coding” to describe styles that deploy connotations simultaneously. texts communicate with the
public and “a minority” at the time. Sometimes called “whistles,” texts contain references that will usually only be recognized by those “in the know.” When Omar quotes a line from Steve Earle’s song “ New York City” to McNulty in an episode of The Wire (“The Cost,” 1-10), and Steve Earle is already a cast member in the show, that’s a dog whistle. Morrissey’s uses of the phrase “Drag” for the title of one of his albums is another type of coding. Like slang, Polari was developed to indicate to members of communities (gays, carnies, etc.) that you were one of them. manifestations of coding can achieve ends. Writing and fanfiction both partake of coding in a way that creates a resemblance--think Spock versus Spock. When encountered by chance against the backdrop of life, both fanfiction and
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368 writing can easily be mistaken for something, unless you know the signs (Spock’s beard) that indicate that what you’re looking at means something from what you think it does. writing formed within the world of poetry, though many of its practitioners are about identifying their work as poetry or themselves as poets (witness Kenneth Goldsmith’s refrain that he’s not a poet, even though he’s been published largely by presses). Dworkin mentions instances in which “one of the figures of poetry--a writer who had in fact himself incorporated texts into poetry”--repeatedly excluded writing from poetry. This poet told me, on another occasion, that what I wrote wasn’t poetry, but was “some sort of art.” If it was a complement, it was at best. I think he meant it as a kind of gesture, to exclude my work from the set of things he wanted to consider. But it’s to tell, because in culture, poetry itself is already activity. Books of poetry account for only 0.12 percent of sales in Canada. (I’m: given the amount of support presses receive from the government, and the lack of support in the United States, I assume that the figure is even in the states). For all the capital that some of its members have accrued, in terms of the number of books in circulation, writing remains a margin of a margin. Fanfiction also began as the activity around fiction (or as the academy condescendingly calls it, “paraliterature”). There are pathways between fanfic and fiction, especially in fiction. Not only do some authors become writers, but some writers do more than support fanfiction--they continue to write it themselves. But fanfiction is making incursions into publishing. Penguin and other houses are beginning to buy up operations that publish fanfic and were previously considered services; Amazon is moving into the business of licensing universes, presumably in the interest of producing a version of fanfiction. In a context, fanfiction has a claim to centrality than writing and even, arguably, poetry in general.
! 369 !
Fanfiction and writing have both been fueled by the growth of media.
If fanfic and writing both have their origins in the practices of communities, both have taken off as a result of the growth of the internet. Here again, we encounter Spock’s beard, because there are uncannily theories to account for this growth in both fanfiction and writing, each with their champion. On one side of the mirror, Henry Jenkins, the theorist of convergence and transmedia, has made a case for the reliance of transmedia on fanfiction. Briefly, theory argues that storytelling now takes place across platforms, creating
universes that require the audience to visit many of them to experience fiction fully, and to actively participate in the telling of its stories. Star Trek, with its series, books, comics, cartoons, websites, and community, is the example; Jenkins’ work began with studies of fanfiction in the community. On the other, Marjorie Perloff, the critic of the avant-gardes, developed a theory of what she calls the “text,” which I’ve expanded elsewhere to a theory of “media”. Perloff’s work on this subject begins with a consideration of Kenneth Goldsmith’s Fidget, a text of writing. While Perloff emphasizes the text is a series of possibilities for kinds of manifestations (Fidget has been, among things, a book, a website, a piece, installation and two suits), Jenkins focuses on transmedia as a model--but truth be told, both transmedia and media rely on the creation and circulation of capital. Moreover, both have demonstrated that reputation and forms of capital can be translated into capital. But there is a difference between fanfiction and writing that proceeds directly from the relationship of each with transmedia and the text. Both fanfiction and writing can manifest differentially, but they place their emphases on aspects of their materials. While fanfiction uses transmedia as its vehicle, writing takes as its subject the materiality of the configuration and forms that transmedia provides.
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370 Where fanfiction shifts characters to settings, writing shifts texts to contexts.
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The move of both fanfic and writing is the trope of clinamen: repetition with a difference. In the form of a diagram, we could represent the swerves from the tradition of fanfic and writing as spirals of degrees of tightness, expanding out from a point that they nevertheless continue to orbit. However, these spirals operate on objects. Fanfiction works at the level of what’s written or said: for example, by combining characters from two worlds. writing works at the level of the context in which something is written or said: for example, by shifting the context of a text’s publication from transcripts to edition published by a press. If fanfiction always proceeds with reference to some sort of text produced by a writer, writing begins by referring to gestures and practices produced by generations of artists who already were calling the notion of originality itself into doubt. And yet, Dworkin notes that writing acquires a “sense of signature” because it makes interventions into culture. Over time, act of appropriation becomes from notions of creation out of nothing. W.G. Sebald allegedly gave the following advice to his students: “I can only encourage you to steal as much as you can. No one will ever notice. You should keep a notebook of tidbits, but don’t write down the attributions, and then after a couple of years you can come back to the notebook and treat the stuff as your own without guilt.” Creativity and appropriation are two sides of the coin, and ultimately are from each other. While both fanfiction and writing might appear to challenge or threaten originality, they also rely on it and reproduce it at moments.
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Kenneth Goldsmith is the E. L. James of writing. Or, to put this all another way: This is an essay about E. L. James if I say so.
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Both Goldsmith and James are symptoms of whatever it is that has replaced the narratives that we’ve used to make sense out of the tatters of modernity—some form of culture. 371 Fanfiction is now demonstrably producing authors. writing has had some successes: the success of Christian Bok’s Eunoia, and Kenneth Goldsmith reading for President Obama—and his lampooning by Jon Stewart—are two of them. If literature retains any of its privilege, it’s only so that privilege can be claimed by the rabble that it traditionally relegated to the hinterlands, now bent on dividing between themselves the spoils of what we used to call literature. To avoid reproducing the myopia and narrowness that writing and fanfiction came into existence to contest, they both need to recognize that they are part of a tendency to see creativity as a process of remixing. Dworkin notes that “in the century, poetry thus operates against the background of practices, in a climate of participation and appropriation.” The problem with that sentence, from my perspective, is what counts as foreground and what counts as background. By recognizing itself as a practice (i.e., part of the background), writing might become of doing something that poetry has never been of: recognizing the things that look just like it and transpire all around it that are not published as poetry, don’t circulate through communities, aren’t received by people as texts, but nevertheless could be formally from writing…and not colonizing them for poetry in the process. There’s a price to pay for that, though: actually giving up the vestiges of the notion of author-as-lone-genius, the ones that even a century of modernity refused to erase. In its place, we might install some sort of conspiracy that’s of appreciating the efficiencies of the things we want to dismiss as imitations and knockoffs. If makers of writing and fanfiction really desire to operate differently from culture at large (and I’m no longer that this was ever the case), they’d need to produce writers who are not interested in becoming authors but are willing to dissolve away into the shadows before the laurels can be handed out. Not Warhol’s Factory, but Batman Incorporated.
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Index active fan, 369 actual capital, 369 aesthetic allegiances, 366 possibilities, 369 all arts, 366 communities, 366 creativity, 371 writing, 364 ambivalent is -, 367, 367 ambivalent are -, 368 American architectural and cultural, 367 culture, 368 ancient trope, 370 anonymous street, 367 anticipatory plagiarism, 366
architectural and cultural theorist, 367 art world, 364 arts communities, 366 avant-garde art, 367 artists, 370 poet, 365 backhanded was-, 368 basic move, 370 bearded Spock, 367 Spocks, 363 best-selling authors, 371 big complex, 364 chunks, 365 tent, 365, 366 “Bona Drag”, 367 brief essay, 363 business model, 369 Canadian I’m-, 368 literary, 368 canny a. act, 370 canonical example, 369 literature, 364 literary, 368 capable of, 371, 371, 371, 371 casual appropriation”, 371 catchall description, 364 celebrity authors, 371 culture, 370 central figures, 368 cheesy imitations, 371 circulatory practices, 369 clear consensus, 364 closest thing, 367 Cockney rhyming, 367 commercial science fiction, 368 writer, 370 writers, 368 complex category, 364 conceptual art, 363, 364, 365, art”, 368 artists, 366 poetry, 371
writing 363, 364, 364, 365, 365, 365, 365, 366, 366, 366, 366, 367, 367, 368, 368, 368, 368, 369, 369, 369, 369, 369, 370, 370, 370, 370, 370, 370, 371, 371, 371, 371 writing”, 366, 366, 366, 366 conceptual writing, 366 Conceptual Art, 366 Writing, 366 writing, 367, 368, 371 Writing, 365, 365, writers, 365 Conceptual, 366 Writing, 366
Conceptual Writing, 363 conceptual writing, 367, 368, 370, 370 concerned minority”, 367 contemporary context, 368 contemporaneous practices, 366 convincing much more-, 368 “correct” context, 364 courtroom transcripts, 370 creative writing, 370 process, 364 students, 370 critical champion, 369 crumbling narratives, 370 cultural activity, 363 capital, 368, 369, 369 centrality, 368
circulation, 365 exchange, 363 fields, 367 interventions, 365 legitimacy, 365 policing, 366 tendency, 371 “dark matter”, 364 deft rhetorical, 366 different aspects, 369 combinations, 366 context, 365 ends, very-, 367 fictional, 370 kinds, 369 manifestations, 367 objects, 370 places, 366 profoundly -, 368 times, 366 “differential media”, 369 text”, 369, 369 differential media, 369 text, 369 digital copies, 367 media, 364,368, 369 diminishing, spoils, 371 discursive contexts, 370
dispassionate relatively- ,365 description, 365 dog whistle, 367 “dog whistles”, 367 domesticated version, 368 doorstep-sized anthologies, 365 “double coding”, 367, 367, 367, 367 double-coded texts, 367 early films, 367 text, 369 entire fictional, 368, 369 text, 364 established pathways, 368 everyday life, 367 explosive growth, 369 external factors, 365 Family (366-7) resemblances, 367 fan community, 369 fanfiction authors, 368 fannish activity, 367 friendships, 366 is-, 364 writing, 366 fictional universes, 368, 369 worlds, 370 final product, 364 forced cultural, 363 frequent refrain, 368
gallery a. installation, 369 general terms, 364 genre fiction, 368, 368 giant doorstep-sized, 365 great swaths, 364 hard to tell, 368 hardbound a- edition, 370 huge (see active fan, 369) hybrid styles, 367 important consider-, 368 increased online, 364 increasing emphasis, 364 indistinguishable, 367 becomes-, 370 -from, 371 functionally-, 367 inevitable signs, 365 inextricable, 370 are-, 370 “informational genres”, 364 International success, 371 Interpretive communities, 366, 369 invisible but open, conspiracy, 371 ion storm, 363 “irrevocable” interventions, 370
key early, 369 language poet, 368 poetry, 368 large sets, 364 larger cultural, 371 history, 366 last dozen , 364 vestiges, 371 late 1970s, 364 legal transcripts, 364 legendary avant-garde, 365 literary avant-gardes, 369 communities, 371 heroes, 367 presses, 368 small, 370 texts, 371 writers, 364 little publishing, 368 lower even-, 368 mainstream publishing, 368 successes, 371 major example, 364 “trajectories�, 364 marginal (formerly), 365 a - activity, 368 activity, 368 writing, 365 market sales, 368
massive paperback, 364 repository, 367 media feeds, 364 platforms, 369 mid-1960s, 364 minoritarian practice, 371 mixed bag, 364 modern invention, 364 more mundane, 368 something-, 368 multiple media, 369 series, 369 mutant form, 370 neighboring universes, 363 networked digital, 368, 369 neo-avant-garde individuals, 366 new configurations, 369 newfound cultural, 368 nine-point type, 364 North American, 368 odd modern, 364 how-, 365 official courtroom, 370 online home, 367 reputation, 367 only excuse, 365 problem, 371 original text, 370 ostensible content, 365
other communities, 366, 367 forms, 369 moments, 370 other discursive, 370 settings, 370 outsider art, 367 own, relative, 365 work, 367 paper suit, 369 paperback book, 364 particular kinds, 366 similarities, 366 peculiar modern, 364 performance piece, 369 pervasive participation, 371 poetic is-, 364, 364 poetry presses, 368 Polari phrase, 367 policing gesture, 368 popular and elitist connotations, 367 possible (certainly), 365 to argue preeminent critic, 369 theorist, 369 present usage, 366 prestigious houses, 368 prose equivalent, 363 publishing operations, 368
rapid growth, 368 recurring cast member, 367 recognizable something-, 365 related vernacular, 371 relative success, 365 relatively (see dispassionate, 365) respective, cultural, 367 communities, 366 critical, 369 swerves, 370 universes, 363 rhetorical aspects, 364 maneuver, 366 value, 364 rhyming slang, 367 Romantic notion, 371 notions, 370
! same coin. 370 language, 368 time, 367 science fiction, 368 science fiction fanfiction, 368 writers, 368 (semi-respectable),365 has become-, 365 separate, 366 keeps them, 366
serious incursions, 368 similar theory, 369 similar-yet-different theories, 369 skewed resemblance, but slightly-, 367 slight difference, 370 small-press circulatory, 369 poetry, 368 press, 370 publisher, 365 social function, 364 media, 364 source materials, 369 specific communities, 367 interpretive, 369 Spock-bearded rabble, 371 Star Trek community, 369 stock quotes, 364, 364 street flyers, 367 strong skewed, 367 case, 369 sense, 370 stylistic affinity, 366 subject matter, 366 subsequent lampooning, 371 substantial difference, 369 subtle signs, 368 successful cultural, 365 avant-garde, 370 commercial, 370
such support, 368 texts, 364, 367, superficial are-, 367 sure, no longer-, 371 tactical efficiencies, 371 tailored paper, 369 technical skill, 364 total market, 368 transmedia theory, 369 transcribed texts, 368 transporter a. accident, 363 true, is true, 366 twenty-first century, 371 twenty-first-century writers, 366 unauthorized and quasi-authorized categorization, 367 unexpected ion, 363 unread books, 365 useful, 363 anything-, 363 “vanity press� services, 368 various neo-avant-garde, 366 copyrights, 367 varying degrees, 370 vernacular practices, 371 weather reports, 364
writing, communities, 366 practice, 365 techniques, 364
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module ii outsourcing
! A walk from Box to Colerne to Ditteridge, Wiltshire, England 20thJuly 2014
! Stanza 1 Mr Kipling exceedingly good 6 Viennese whirls delicious shortcake swirls with a fruity raspberry jam and smooth buttercream centre made to melt in mouth shortcake fancies filled with buttercream 18% and raspberry jam 11% ingredients wheat flour vegetable oil icing sugar raspberry jam glucose fructose acid invert sugar syrup glycerine acidity regulator butter raising agents disodium diphosphates bicarbonate fatty acids carton widely recycled tray check local recycling 6 Viennese whirls with a raspberry jam and buttercream filling 6 Viennese whirls 100% natural flavours
! Stanza 2 F fosters lager crafted to refresh melbourne Est. 1888 W&R Foster since 1888
! Stanza 3 Kronenbourg 1664 b ssee avec savoir-faire depuis 16 premium beer brewed with unique matis strisselspalt hops from Alsace contain wheat Best before see base of can 50Alc % vol. adults do not regularly exceed men 3-4 units daily women 2-3 units daily La première bière française Kronenbourg 64 Uk under ag mt with Kr
! Stanza 4 Dorritos grab fag ritos Flavour corn chips
! Stanza 5 F The amber nectar Refreshing aussies since Fosters Fos
! Stanza 6 Monster energy and gin seng vitamins monster packs a vic punch flavour you can Killer energy prov
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Stanza 7 M I’m loving it imple joyment brazil rainforest alliance certified coffee ronald macdonald house charities thank you find out more 0.4l Free wifi at participating restaurants tastes so good
! Stanza 8 M wrap Open in 3 simple steps 1 tear middle strip 2 remove top half of pack 3 enjoy your delicious wrap iceberg lettuce
! Stanza 9 230ml orange guav apricot man fruit lightly parkling tro ients carbon fruit juice guava fruit produced for n woodhouse ltd
! Stanza 10 Super valu 5 a day values energy protein carbohydrate ich sugars as salt recommended daily allowance
! Stanza 11 Asda chosen by kids no artificial colours or flavours no added sugar and added vitamin c no artificia colours or flavours Concentrate with sweetener and added vitamin c
! Stanza 12 Robinsons fruit shoot A skills playground for your local area for community use in the winners local area see full sugar free with natural blackcurrant
! Stanza 13 Marlboro
! Stanza 14
! sky 1 HD 6am Glee Will uses the music of Saturday Night Fever to inspire New Directions. (R,S,HD) 7.00 Futurama Four episodes (R,S) 9.00 NCIS: Los Angeles (R,S,
HD) 11.00 Hawaii Five-0 Double bill. Criminal mastermind Wo Fat tries to put an end to the team. Then, McGarrett awaits trial for the Governor’s murder. (R,S,HD) 1.00 NCIS: Los Angeles Two shows. A diplomatic service van is hijacked during the transportation of an unknown package. (R,S,HD) Then, two pharmaceutical executives are murdered. (R,S,HD) 3.00 GleeThe students perform songs by Whitey Houston as they try to come to terms with the imminent departure of the older members of New Directions. (R,S, HD) 4.00 Futurama Two episodes. Fry gives Zoldberg advice on wooing the opposite sex. Then, Fry’s head is grafted on to Amy’s body. (R,S) 5.00 The Simpsons With the voice of Frances McDormand. (R,S) 5.30 Futurama Double bill. Fry makes a deal with the Robot Devil. (R,S) Then, first episode of the sci-fi animation series. (R,S,HD)
! etc
! ! ! !
module iii upskilling
! w insertion There cannot be many negatives There never can be
- not even the noise of them, especially not the noise
! in the things that are said in the tongue that is used especially in the facts, habits and im/permanence of things that are said
! unless the other of us cheats
- a possibility that exists as a fact, a habit, a state of im/permanence so that others ill say that the other of us has cheated
! And some points may have to be reformulated as imperatives, edicts, if necessary on a clever if not contrived ellipsis. (Any figures of speech ill do the trick).
! Come hell is the phrase that comes to mind: are there not limits on these limitations?
! Among us there is the the person that is me and the other that is not me
! !
and I cannot express the thing that the other is unless I cheat. And this is the same for the other
! There can be sex as long as the things among us are not of its nature but often they might seem to be (and this ill becomes us)
! This verse may never be translated especially not its noise; it can be sung but not talked performed, uttered even, but not said Ah yes: it cannot be thought
! Oh Wanne !io io
! ! ! 1 attachment (3.9 MB) ! ! !
Alternative Methods in Language Acquisition.docx
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! ! you'll never believe what I came across...! ! Anne! ! ! ! ! io io! (quotation from 'W insertion. A poem written with Anne who is a real person in mind') to be applied to what you came across which I'll never believe!
! ! ! ! ! ! ! !