User:FLEM/Week 05: Difference between revisions
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Latest revision as of 14:24, 2 June 2022
a philosophical voiced sample pack by Kamo and Flem
the piece
https://hub.xpub.nl/soupboat/pad/p/kamem_FIVE
identity card
[title]
what is right not to
[duration]
3.36
[description]
In connection with the topic of censorship, the research and question of the value of something that it's worth it to stay as it is because of what and how it is.
[score]
what is the notation system of the instrument?
There is a structure in the text used: [underlined are the repetitive words]
if we censor art, what is left to discuss? but what is right not to nor to or to to + verb* [*variable]
The basic structure that should be kept in the played piece have to contain:
1. First line [the refrain]: if we censor art, what is left to discuss? 2. Container of the text: 2 "but" [one after the first line & one as the final line] 3. The text: repetitive word: what is right not to not to nor to or to to + the variable verb
[input]
collectively written text and audio recordings
[tools]
mini-microphone, Ableton, Audacity, Rack
[process log]
- brainstorm
- pick a topic we want to write about
- pick a method we want to use
- start writing together on the same pad
- edit the text & proofread
- experiment audio recordings
- experiment with rack and our voices
- find the right method
- create a drum machine
1. record fragments 2. split them up in different audios 3. position audio recordings as notes 4. play!
- our usage of the notation system and the creation of the piece
1. pick verbs already divided in categories from the original text + the repetitive words 2. play around and create a rhythm out of them [see the fragments] 3. between the verbs, insert variations of what is right not to 4. add first line and containers [but] 5. done!
- export mp3
[output]
instrument/ voiced drum machine
audio piece: what-is-right-not-to.mp3
text: what-is-right-not-to.txt
[who]
Emm & Kamo
the Task
ok nice HELLO (..)IF WE CENSOR ART WHAT IS LEFT TO DISCUSS(..)
https://pad.xpub.nl/p/FIVE_editorial Deadlines
This week we have two deadlines for the contributors: Friday 12.00 (midnight) - for sending your texts Sunday 12.00 (noon) - for uploading the recordings
Instructions 1) Writing: The text should be around 400-600 words, but feel free to contact us in case you need a different amount for whatever reason. It should include AT THE END or AT THE BEGINNING the sentence we proposed, the rest is up to you and you can create any type of text: it can be fiction, non-fiction, an article, a conversation, a collection of texts, a poem, a script, a fanfiction or wherever the refrain takes you! Remember, this is a small weekly experiment & fun collective writing exercise, no pressure :)
2) Recording & Editing: After writing the story, we ask you to record it (with your own voice, synthesizers or whatever you can think of). You have the freedom to use various tools and effects - It can include music, sounds etc. as well, so play around with this: however, the story should be understandable so be careful not to cover the voice and use the underscore/soundtrack as an accompaniment to enhance the content and make it more powerful [it could be a simple bassline, beat or even silence, but also a pop song or your grandmother snoring, whatever you like—you have the freedom to decide what works best for the piece you’ve been writing].
BRAINSTORMING
salamino, [5/18/2022 12:43 AM] what is left to discuss / what is right not to say or speak about
silent lunch // about the weirdo of the village a child that feeels like is an artist and his family mistreats him and they have these long conversations in complete silence
cosa è lecito non ricercare
contrasto tra: _cosa rimane se l'arte viene censurata? _c'è qualcosa che vale la pena non investigare? non modificare non Approfondire non toccare non manipolare Il valore di ciò che rimane com'è per ciò che è che connessione c'è con la censura?
Produci tanto e poi censuri prima di produrre valuti cosa ne vale davvero la pena
cosa non è valido what is left / what is right ---> HOW CAN WE BE NOT LIKE " WE KNOW WHAT'S RIGHT AND WHAT'S LEFT"? just assumptions not rules?
cosa prendi e cosa lasci
“where in the process cuts are made and to what ends” “what is lost and what is kept in the process” (from urgent publishing book) due punti di vista: la voce del progetto che è stato rifiutato e quello che è stato accettato lista di cosa (think about the plot of her undoing)
scrittura umana, scrittura oggetti, scrittura macchina narrativo ma astratto, non teorico
metodo pratico per scrivere
lettura sfasata a due voci --> lettura contemporanea e in certi punti sfasata performativo: una parola a testa?
performative recording ? can we add a tool somewhere in the process ? can the tool inform our performativity while reading and recording the text ? etc im really interested in this
https://knowyourmeme.com/memes/greentext-stories
liste
potrebbe anche essere un pezzo non continuativo ma un miscuglio de robbba come se ci fossero tanti frammenti [un pò come in quel link che hai mandato] che compongono un pensiero continuativo
COLLECTIVE WRITING METHODS WE COULD USE: https://www.tutorialspoint.com/collaborative_writing/collaborative_writing_quick_guide.htm
Single Author Writing Sequential Single Writing: The writer who is supposed to start with the writing, will complete his part and then pass the document to the second in sequence. Parallel Writing: Closely resembling shared writing in method and implementation, parallel writing involves employing a group of people who are handed different portions of the document and are asked to work on their areas at the same time. There are two kinds of parallel writing, one where the document is divided into smaller sections and different members handed writing responsibilities of these sections. Reactive Writing: Reactive writing involves different team-members or various teams going through one another’s output and “reacting” to the content by suggesting changes, proof-reading, fact-checking, editing, etc. Mixed Mode Writing https://sites.usc.edu/graduate-writing-coach/best-practices-for-group-writing/
- https://tmtti-vms2021.netlify.app/ - Digital Memories - Everything not saved will be lost
the Plan
pick a topic we want to write about pick a method we want to use [narrativo ma astratto, non teorico] --> in prima o terza persona? o seconda? start writing together on the same pad see where it goes edit the text proofread experiment audio recordings experiment with rack and our voices find the right method record the final piece hand in yeah
our Glossary
LEFT_
RIGHT_ WHAT IS WORTH IT NOT TO INVESTIGATE/NOT TO MODIFY/NOT TO TOUCH/NOT TO CONTAMINATE the value of something that it's worth it to stay as it is because of what and how it is
CENSOR_ examine (a book, film, etc.) officially and suppress unacceptable parts of it.
- to examine in order to suppress (see SUPPRESS sense 2) or delete anything considered objectionable, immoral or inappropriate.
https://magazine.artland.com/the-fear-of-art-contemporary-art-censorship/ https://media.okstate.edu/faculty/jsenat/censorship/defining.htm "Censorship operates on the assumption that the thoughts, feelings, opinions, beliefs and fantasies of human beings ought to be a subject of moral judgment and ultimately social and government action."
-- Harry White, "Anatomy of Censorship: Why the Censors Have It Wrong," p. xvi
ART_ is art human expression? is art what humans are? Cultural expression in a broad sense: from literature to gastronomy to fashion
start Writing
IF WE CENSOR ART
what is left to discuss / what is right not to say
(..)IF WE CENSOR ART WHAT IS LEFT TO DISCUSS(..)
IF WE CENSOR
if we censor
if we censor our art
if we censor someone else's
censorship and self censorship
censorship from above and censorship from within
inner censorship and outer silencing censorship as discipline censorship as care censorship as filtering
how are we entangled with what we are censoring? when is to protect and when is to hide? when is to forget and when is to highlight?
WHAT IS LEFT//
what is left what is safe what is unsafe what is right what is left what is left
what is fair and what is not what is correct and what is not
what is not?
THE FINAL TEXT:
//WHAT IS RIGHT NOT TO
If we censor art what is left to discuss?
but
what is right not to say not to explore not to research not to investigate not to disturb not to move not to play around with not to harm not to modify not to evolve not to question
what is right not to issue not to challenge not to interrogate not to query
what is right not to intrude or not to invade
what is right not to mess not to change not to develop not to analyze not to evaluate not to violate not to bother nor to bore or to trouble
what is right not to analyze not to consult not to explore not to investigate not to probe not to estimate not to look into
not to care for not to look for what is right not to see what is right not to choose nor to pick to want to hear nor to feel what is right not to deal with nor to stand for nor to evoke
what is right not to reflect on not to think of not to mention not to remember not to consider not to believe in
what is right not to understand not to absorb not to take over not to control nor to check
what is right not to collect
not to correct
not to connect
what is right not to rush what is right not to flash not to smash
not to destroy not to crash
what is right not to press nor to
what i right not to compress
not to oppress
what is right
not to collection
not to exhibit
not to display
not to visualise
nor to admire
what is right not to
not to confess
not to say
not to convey
what is right not to illustrate what not to diffract not to diffuse neither to share
what is right not to play with
not to start with
not to end with
not to
but
THE AUDIO PLAN
concepts
1. live performance [live metronomo - live adjustment of the metronomo with Rack]
.lettura in sync [tentativo di parlare in sync // ascolta e adattati all'altro per trovare la giusta frequenza comune] + +
== +sovrapposizione voci +ricerca del sync, interessante -cantilenato -poco dinamico ---non siamo riusciti a usare il metronomo per la ritmica .in sync sfasato di pochino +
+
.a canone unsynched [uno parte prima e l'altro poco dopo] + + == attenzione a che le voci si sentano entrambe ma non si sovrastino o cancellino a vinceda__ > dobbiamo sentire + più dinamico con il metronomo e il cambio di accento del beat in live/ongoing + pronunciare le parole seguendo la ritmica e gli accenti del metronomo --> la ritmica è connessa e sincronizzata mentre le parole sono sfasate eheheeheh --> TOO HARD
2. metronomo come base
come struttura in recording
3. controlled rhythm with single words on screen 4. diverse intensity -------------------PROBLEMb ZONE: WHY AREN'T WE TRIGGERED BY OUR VOICES PERFORMANCES?-----------------
5. drum machine
1. record fragments 2. split them up in different audios 3. position audio recordings as notes 4. play!
create an instrument
The voice recording are split up in single words [the fragments] to create samples that can be positioned as musical notes to compose the piece.
The samples are Emm & Kamo's voices alternating. Both pronounce the non-variable elements. The verbs are randomly pronounced by one or the other.
the fragments of the text
If we censor art what is left to discuss?
but
what is right not to
say explore research Investigate disturb move play around with harm modify evolve question
issue challenge interrogate query
intrude invade
mess change develop analyze evaluate violate bother bore trouble
analyze consult explore investigate probe estimate look into
care for look for see choose pick want hear feel
deal with stand for evoke
reflect on think of consider remember believe in mention
understand absorb take over control check
collect correct connect
rush flash smash
destroy crash
press compress oppress
collect exhibit display visualise admire
confess say convey
illustrate diffract diffuse share
to play with start with end with
what is the notation system of the instrument?
There is a structure in the text used: [underlined are the repetitive words]
if we censor art, what is left to discuss? but what is right not to nor to or to to + verb* [*variable]
The basic structure that should be kept in the played piece has to contain:
1. First line [the refrain]: if we censor art, what is left to discuss?
2. Container of the text: 2 "but" [one after the first line & one as the final line]
3. The text:
repetitive word: what is right not to not to nor to or to to + the variable verb
Through this instrument, the integrity and meaning of the text is kept alive, no meaning is hidden or distorted; obviously, it also allows a more abstract usage.
our usage of the notation system and the creation of the piece
1. pick verbs already divided in categories from the original text + the repetitive words
2. play around and create a rhythm out of them [see the fragments]
3. between the verbs, insert variations of what is right not to
4. add first line and containers [but]
5. done!
24th May 2022 - CARETAKERS' PROPOSAL
Nested narratives by Al Supi and Flem
starting point
Experimental publishing and broadcasting following the experiments made with the radio in the 1930s + notation system
References
The_Scoop_and_Behind_the_Screen
ALL PROBLEMS OF NOTATION WILL BE SOLVED BY THE MASSES
interesting concepts for the creation of the piece
"In 1930 the BBC invited well-known writers to write different chapters in a thriller for radio. The stories were published in The Listener magazine the following week."
a text for broadcasting is different from a text made for reading: can we work on this and when we exchange the pieces we transform the text to be broadcasted?
"One particular difficulty was Walpole’s refusal to write out the story word for word, preferring the spontaneity of speaking from notes" --> is there someone that want to broadcast from notes and not from a text? (check explanation option2)
"Mr. Marshall or I will revise and correct it on Sunday afternoon and post it to the printers so that they have it at half past seven on Monday morning. The printers will arrange to leave the requisite space, but of course no one will be able to see a proof." they couldn't proofread the print of the Listener mag
"To the speed of production was added the complications of multiple authorship, for while each author had the continuation or instalment from the previous writer, it was not always in good time or consistent"
RESULTS OF THE EXPERIMENT: "To find out whether listeners liked the story and wanted another Ackerley published a survey. He received nearly 1,500 appreciations and 60 criticisms: many said there were too many instalments or the instalments were too short. Seventy-three thought the synopsis too long and wearisome and that it should be printed in The Radio Times." think about how long should a piece for the radio be, how many instalments work?
- create collective writing
- everyone reads and records a chapter
- everyone plays with the effects to create original versions
- from “the problems of notation”, scratch history: exchange the pieces
produce—>share—>exchange—>perform—>edit—>produce—>share—>(..go on)
writing <—> performing = exchange of pieces to be performed by others
- chapter mode
- the results will be transposed/transcripted to text and published as a newspaper —> check transposing software from voice to text (we could also use VOSK and do a live transcription but then we would need people to be up for a meeting?)
what would be essential for me is: to exchange the pieces to be recorded and interpret by others & transcription to newspaper/print.
the idea
The purpose would be to replicate the first broadcasters' experience (see reference text) in trying to bring a piece of writing to the radio/audio environment, and mix it with the notation system that produces multiple interpretation of a piece. The idea could be: 1. to have the piece ready by Sunday to be transcribed and printed on Monday to have a newspaper ready for Tuesday morning. OR 2. to prepare the texts to be ready for Tuesday morning and then read and record them live with vosk, and send them to the printer (receipt printer or the line printer) directly through Python and have both the recording and the "newspaper" ready while we are in the room. --> LIVE TRANSCRIPTION
[it's doable, i need to try this out in the sound studio with the printer if it works: vosk python3 script.py >> filename.txt >> (to append) > (to overwrite) how to talk to the printer? same concept that creating txt file]
things still to be thought through
1. What kind of text should we be writing? (SEE PLANS OPTIONS OR PROPOSE NEW ONES)
2. Can we work on a collective text made in small chapters that we can then exchange and interpret? Do we have enough time for this?
3. It would be nice to describe the task as a total open proposal to write anything and interpret it in any way we can think of (e.g. it's not essential to write words(?) or to write a story, but they could also be similar-notations, or it's not essential to read the words, you can also use a story to record sounds etc..)
4. how can we be split up into couples to work on this? --> we could also split up into 3-people-groups and create the collective texts inside the groups to have around 3 pieces to be broadcasted, then anyway exchange the 3 pieces between the different groups to be interpreted.
about collective writing
Collective writing is a type of writing in which multiple authors collaborate to complete a writing task.
The idea, in particular, tries to evoke the publishing experiment that has been produced in the 30s when a bunch of British authors produced a collaborative detective fiction for the BBC, at the time when the radio was still not so known as a common media as later in the years. The authors worked together to write the chapters of the story one after the other [see chain novel] and then broadcasted their pieces every Saturday. There were a lot of complications because of problems of authorship, copyright, the hard task for a writer to talk on the radio and little time for the production of the newspaper, the Listener.
The release of this week will be an experiment with collaborative writing for the radio: you will be writing a piece of text that will be recorded and edited by you, a piece of writing that is made to be listened.
There are many different techniques in collaborative writing and what we chose for this week is built upon a structure based on a refrain. At the end, the pieces will build up different scenarios and visions based on the same beginning or end. We chose a the method that can be still interdependent and interconnected and collaborative but at the same time allows everyone to work at their own pace and time, without needing to slow down to wait for someone else’s piece.
references and ideas
Reference text: "A cross-media experiment in publishing and broadcasting crime fiction in the early 1930s" by Alexis Weedon: https://hub.xpub.nl/soupboat/~flem/%5BMedia%20History%20vol.%2013%20iss.%201%5D%20Weedon%2C%20Alexis%20-%20%E2%80%98BEHIND%20THE%20SCREEN%E2%80%99%20AND%20%E2%80%98THE%20SCOOP%E2%80%99%20%282007%29%20%5B10.1080_13688800701264942%5D%20-%20libgen.li.pdf
https://en.wikipedia.org/wiki/Collaborative_fiction
https://en.wikipedia.org/wiki/Chain_novel: A chain novel or chain story is a type of collaborative fiction written collectively by a group of authors. The novel is passed along from author to author, each adding a new chapter or section to the work, with the rule that each subsequent chapter or section should elaborate and follow the plotline of preceding chapters or sections.
https://en.wikipedia.org/wiki/Addventure: An addventure, also known as a collaborative gamebook, is a type of online interactive fiction that combines aspects of round-robin stories and Choose Your Own Adventure-style tales. Like a round-robin story, an addventure is a form of collaborative fiction in which many authors contribute to a story, each writing discrete segments. However, like a gamebook, the resulting narrative is non-linear, allowing authors to branch out in different directions after each segment of the story. The result is a continually growing work of hypertext fiction.
https://en.wikipedia.org/wiki/Hypertext_fiction
Different types of collaborative writing activities: https://secondaryenglishcoffeeshop.blogspot.com/2017/04/collaborative-writing-activities.html
plans
option1.[separate pieces] Write text>exchange pieces>interpret the text and record it>transcribe>print newspaper [this is better as we have little time but less fun]
option2.[Collective piece in chapters] Write chapter1st>give it to someone>write 2nd chapter>go on until everyone wrote>exchange pieces>interpret the text and record it>transcribe>print newspaper
option3.[notation system] Write notation to write a text>exchange notations>write texts>exchange texts>interpret the text and record it>transcribe>print newspaper [this is complicated because we need to exchange twice]
- when we exchange pieces they could be edited to be adapted to broadcasting, as well as for personal interpretation
--> open to suggestions for the creation of the text. In my opinion, the collective text would be an interesting experiment for us but it's not essential.---> we could also pick a text of our choice and etc...
we could also start from the same sentence, split up in 3 groups, and write a text to be read all starting from the same thing and see what happens? see addventure: how could we do that?
ideas i didn't use and i want to try out
live transcribing addventure chain novel/text from “the problems of notation”, scratch history: exchange the pieces produce—>share—>exchange—>perform—>edit—>produce—>share—>(..go on) writing <—> performing = exchange of pieces to be performed by others
amazing ideas we had as a group
live illustrating from the listeners [live listening // drawing --> intentional listening] --> it's important to focus on the listening part, is this a radio piece?
the "newspaper"[the printed outcome] will be the piece of rolled paper people will fill in while listening
the output/interface:
--------------- what is left to discuss ---------- [in the middle of the screen with hyperlinked texts--add supi's image]
modularity: obtained by random refreshing positions of the texts [texts can be positioned everywhere]
infinite scrolling [left and right to move from the hyperlink nest] --> never-ending collaborative writing piece, it can go on forever
final proposal
THE TOPIC OF WEEK FIVE IS:
Nested narratives: what is left to discuss?
Deadlines
This week we have two deadlines for the contributors: Friday 00.00 (midnight) - for sending your texts Sunday 12.00 (noon) - for uploading the recordings
Publishing Miri + Mitsa Alex + Supi Kamo + emm Jian + Carmen (ghost) + Erica Gersande + Chae Caretakers Alex + Supi + Emma
The concept The release of this week will be an experiment with collaborative writing for the radio: you will be writing a piece of text that will then be recorded and edited by you. The structure is built up on a refrain that will produce different scenarios and visions with the same beginning or end. We chose a method that is inter-dependent, inter-connected and collaborative, but at the same time allows everyone to work at their own pace and time.
Instructions Helloooo!
For this week, we invite you to write down a text (that can be a collection of texts, an essay, a conversation, a script, a non-fiction... whatever you like) and to record it! The result will be a collectively written piece of short narratives with a refrain. Each narrative is written by one group/duo and it has to either start or end with the following phrase:
IF WE CENSOR ART WHAT IS LEFT TO DISCUSS
/ Loesje International quote [1] https://www.facebook.com/loesjeint/photos/a.176294295744070/7598818870158205/
1) Writing: The text should be around 400-600 words, but feel free to contact us in case you need a different amount for whatever reason. It should include AT THE END or AT THE BEGINNING the sentence we proposed, the rest is up to you and you can create any type of text: it can be fiction, non-fiction, an article, a conversation, a collection of texts, a poem, a script, a fanfiction or wherever the refrain takes you! Remember, this is a small weekly experiment & fun collective writing exercise, no pressure :)
2) Recording & Editing: After writing the story, we ask you to record it (with your own voice, synthesizers or whatever you can think of). You have the freedom to use various tools and effects - It can include music, sounds etc. as well, so play around with this: however, the story should be understandable so be careful not to cover the voice and use the underscore/soundtrack as an accompaniment to enhance the content and make it more powerful [it could be a simple bassline, beat or even silence, but also a pop song or your grandmother snoring, whatever you like—you have the freedom to decide what works best for the piece you’ve been writing]. Have fun!
3) Uploading: When you are ready, upload your files in the following folders: TEXTS BY FRIDAY EVENING: shared/html/SI18/05/texts RECORDINGS BY SUNDAY AT NOON: shared/html/SI18/05/recordings Remember to give a COMMON NAME on both your text and recording so that we can easily reconnect them to each other. (e.g. caretakers.mp3, caretakers.txt)
The final outcome will be nested narratives based on a modular structure, a never-ending collective writing piece. _____________________________________________________________________________
Moodboard & further research
REFRAIN_ This week we're using a refrain to connect our pieces into one story. The unexpected and peculiar connections and dependencies will be revealed at the end in our collective publication.
What is refrain?
refrain noun Definition of refrain (Entry 2 of 2) 1: a regularly recurring phrase or verse especially at the end of each stanza or division of a poem or song : CHORUS also : the musical setting of a refrain 2: a comment or statement that is often repeated verb stop oneself from doing something
Wiki: A refrain (from Vulgar Latin refringere, "to repeat", and later from Old French refraindre) is the line or lines that are repeated in music or in poetry — the "chorus" of a song. Poetic fixed forms that feature refrains include the villanelle, the virelay, and the sestina.
In popular music, the refrain or chorus may contrast with the verse melodically, rhythmically, and harmonically; it may assume a higher level of dynamics and activity, often with added instrumentation. Chorus form, or strophic form, is a sectional and/or additive way of structuring a piece of music based on the repetition of one formal section or block played repeatedly.
In music, a refrain has two parts: the lyrics of the song, and the melody. Sometimes refrains vary their words slightly when repeated; recognizability is given to the refrain by the fact that it is always sung to the same tune, and the rhymes, if present, are preserved despite the variations of the words.
SPOKEN WORDS & UNDERSCORE_ We would love to invite you to play with this medium this week. How about we use our voices to hear our stories? Or record digital ones? And add a subtle underscore music or sound to enhance our pieces? Remember VCV Rack? ;-)
Here some inspiration:
https://www.youtube.com/watch?v=yu8T38PbkI8 https://www.youtube.com/watch?v=BIdjGwG2Vqg https://www.youtube.com/watch?v=S-YsGdjkIgw
COLLECTIVE WRITING_ Collective writing is a type of writing in which multiple authors collaborate to complete a writing task. The idea evokes the publishing experiment that has been produced in the 30s when a bunch of British authors produced a collaborative detective fiction for the BBC, at the time when the radio was still not so known as a common media as later in the years. The authors worked together to write the chapters of the story one after the other [see chain novel] and then broadcasted their piece every Saturday.
Here some references:
Reference text: "A cross-media experiment in publishing and broadcasting crime fiction in the early 1930s" by Alexis Weedon: https://hub.xpub.nl/soupboat/~flem/%5BMedia%20History%20vol.%2013%20iss.%201%5D%20Weedon%2C%20Alexis%20-%20%E2%80%98BEHIND%20THE%20SCREEN%E2%80%99%20AND%20%E2%80%98THE%20SCOOP%E2%80%99%20%282007%29%20%5B10.1080_13688800701264942%5D%20-%20libgen.li.pdf https://en.wikipedia.org/wiki/Collaborative_fiction https://en.wikipedia.org/wiki/Chain_novel: A chain novel or chain story is a type of collaborative fiction written collectively by a group of authors. The novel is passed along from author to author, each adding a new chapter or section to the work, with the rule that each subsequent chapter or section should elaborate and follow the plotline of preceding chapters or sections. https://en.wikipedia.org/wiki/Addventure: An addventure, also known as a collaborative gamebook, is a type of online interactive fiction that combines aspects of round-robin stories and Choose Your Own Adventure-style tales. Like a round-robin story, an addventure is a form of collaborative fiction in which many authors contribute to a story, each writing discrete segments. However, like a gamebook, the resulting narrative is non-linear, allowing authors to branch out in different directions after each segment of the story. The result is a continually growing work of hypertext fiction. https://en.wikipedia.org/wiki/Hypertext_fiction Different types of collaborative writing activities: https://secondaryenglishcoffeeshop.blogspot.com/2017/04/collaborative-writing-activities.html
NESTING CONCEPT_ keywords: anchor, nest
if we censor art what is left to discuss" will be the anchor text that simultaneously functions as starting and end points, where your contributions will be nested in between.
Additional references:
http://orteil.dashnet.org/nested
_____________________________________________________________________________ Q&A [10:30 every morning]
Add your questions here and we will get back to you asap and by 10:30 h on the next day :)
..
gallery
as broadcasters
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as caretakers
FIVE_nested_narratives_active_listening.mp4
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