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March 04, 2007


Walton 2nd Floor F153. Teaching Innovation: Experiments in the Poetry Workshop. (Rachel Zucker, Steve Gehrke, Brian Teare, Brian Clements, Jena Osman, Elisabeth Frost)

Brian Clements
undergraduates contemporary poetry, post projective worn on its sleeve of symbols experimental resistance difficult is the question more new and applicable normally and frequently little more than new to replace the old a spoonful of sugar and a dose of medicine sold innovative and fun, isn't that fun, great fun, go wild - the whole apparatus local reading as you all know not to read but to apply close deductions and ability for children brown squirrels and dull rhymes - short plays written by the living down to New York City over an extended period to find out what they really meant to the uninitiated overcoming experimentation and reeducation in the fear of the new valuable and specific and researched the mere belief increases the potential for learning and cognition as a model that evolves through examples and entities to play with the idea who may be familiar with exposure and possibility furthermore modes desire to discover found newspapers lit up like heaven like permissions for themselves in collaboration in exploration and composition and animation and performance and dialogue in the flash project more on its own than anything simply history do it merely as an exercise invested and immersed breathing life easily seen ongoing issues following frequent vitality and humor recognized in a cinema spurred on by a combination of live places where nothing exists identifying as an agent and taking cues from lessons unprovided

Rachel Zucker
in experience two beliefs are prominent one familiar expression because it is personal and powerful and it all belongs to a piece of property of an expression with no rules compared to unconventions in a free zone impeding growth and openness through rule-breaking romantic self expression feeling unaccountable in essence and feeling the fact of misplacement is a voice of the flip side for a very long time without reading factors returning to a model a new model that went fairly well, here we go luminous details explain how a sense of the material world engages something outside the feelings, functioning from authoritarianism and brevity removed oneself from the "I" with clinical observation see hear and pput into language without affect starting from ideas but no abstraction is allowed in the beginning and no metaphor-absurd not engaging literally, some of the objective composition is prose in the final step, addressed as material objects like code-switching a linquistic concept theorized at length in registers emblematic as marginalized groups in relation to both the dominent and codes of bi- tri- palates, the phenomenon of a very complex phenomenon to introduce diction and self-expression of something quite different trained as specilized language in a series of 30s and 40s gangsterism making its way into parlance fuzzy a combination of the line and the reader acctivated to consider the context in an example of practice pretty rigorous kicking text and questions and phrases included within any given captured richness of texture and positionality formally leaping from translation in clear relation so that there are little errors involving different languages and authority even more in a sense is all kinds of visual forms facing it by examples made of models.

Steve Gehrke
the shift away from theory responding to context breaking down useless meaning and craft, types of speaking beginning from incorporation based on three assumptions, stronger readers and new dominance a virtual monopoly process of commitment sharpening connotations and rhythms avoiding use read for stylistic truth relating to consequence an extension of editors devices and elements of useful things efficient specific proscriptive and vague by participation and allegiance, reaching ridiculous heights of ignorance prevailing over two strategies of history and concern a rubric based around preferences and responses at its worst it sounds right but feels off as a preference for biography a demanding personal opposition a quick fix of larger implications interacting with meaning and bizarre lenses demonstrating interpretation and inflection a more flexible assumption including programs of notion different from the final assumption, always focused on help, on a piece of imagination and service grafted onto haunting assumptions mysterious and mystical but tangible as invention triggering devices and tricks as a lack of information and two valuable processes by reading in a context and community of speech utterances proceeding from the first disturbance encouraged to collaborate with a cursory study, authentic voice and image united with recent philosophy alternating between questions and aristotle, ordinary language asserted from concepts and contradictions with a heightened sense of meaning constructing formulations of aristotle asserting that this can be.

Jena Osman
activate the reader as co producer - here are three things, books, processes on the alert and construction, not the complete thing but the people - the second thing is the text constituting the neutral observer and consumer interpreting the world - the last is a truism understood as potential not a consumer contentiously sharing the work, which has been around for a very long time - put into practice this is concrete, based on a desire to create an experience that isn't an experience, but a memory of passion and pleasure in the first place, specimens of a manditory artful commentator never really engaged with the dynamic - language and thinking is an idea of activity of choice to know the inside out getting your hands dirty with language and students taken step by step, guided with a quote from a book community - what advice needs is an audience of advice givers, the presence of a fish disagreeing with weak fixes and a number of prompts that are pretty useful, pointing to the mind resonating with a form of speech, the second reply is at hand between each dialogue and letter is the third really useful movie of the mind coming into contact with the hand, something you can't access or don't get something impenetrable that you can see in response to paper, technniques are suggestions of belief by knowing what not to believe and then work with methods and all these here will change with the countdown of transformation, why is this useful? something coheres in clarity like an awakening engrossed with significance and the subject object positions - a step away from the return and a number of other translations that skip down to a really important thing - an interpretive decision of note - explaining choice and discussion with three responses and just talking work and elements of linking and happenings and traditional lines that matter and connect and then finish things up - a piece of an excerpt of a section of a serial also intensity beyond a title like a lion marionette and elsewhere between rain and persons implying a finger of flame a created replacement of a section the light of a field the role of contrast and resolution an explanation tied up with mechanical knowledge and wedgie looking things rotating in counter clockwise directions a general theme of machinery


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