Zodiac: the Eco-Thriller Neal Stephenson
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PLAYNOTES Season: 43 Issue: 04
PLAYNOTES SEASON: 43 ISSUE: 04 PORTLANDSTAGE BACKGROUND INFORMATION The Theater of Maine INTERVIEWS & COMMENTARY www.portlandstage.org AUTHOR BIOGRAPHY Discussion Series The Artistic Perspective, hosted by Artistic Director Anita Stewart, is an opportunity for audience members to delve deeper into the themes of the show through conversation with special guests. A different scholar, visiting artist, playwright, or other expert will join the discussion each time. The Artistic Perspective discussions are held after the first Sunday matinee performance. Page to Stage discussions are presented in partnership with the Portland Public Library. These discussions, led by Portland Stage artistic staff, actors, directors, and designers answer questions, share stories and explore the challenges of bringing a particular play to the stage. Page to Stage occurs at noon on the Tuesday after a show opens at the Portland Public Library’s Main Branch. Feel free to bring your lunch! Curtain Call discussions offer a rare opportunity for audience members to talk about the production with the performers. Through this forum, the audience and cast explore topics that range from the process of rehearsing and producing the text to character development to issues raised by the work Curtain Call discussions are held after the second Sunday matinee performance. All discussions are free and open to the public. Show attendance is not required. To subscribe to a discussion series performance, please call the Box Office at 207.774.0465. Portland Stage Company Educational Programs are generously supported through the annual donations of hundreds of individuals and businesses, as well as special funding from: The Davis Family Foundation Funded in part by a grant from our Educational Partner, the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts. -
English Song Booklet
English Song Booklet SONG NUMBER SONG TITLE SINGER SONG NUMBER SONG TITLE SINGER 100002 1 & 1 BEYONCE 100003 10 SECONDS JAZMINE SULLIVAN 100007 18 INCHES LAUREN ALAINA 100008 19 AND CRAZY BOMSHEL 100012 2 IN THE MORNING 100013 2 REASONS TREY SONGZ,TI 100014 2 UNLIMITED NO LIMIT 100015 2012 IT AIN'T THE END JAY SEAN,NICKI MINAJ 100017 2012PRADA ENGLISH DJ 100018 21 GUNS GREEN DAY 100019 21 QUESTIONS 5 CENT 100021 21ST CENTURY BREAKDOWN GREEN DAY 100022 21ST CENTURY GIRL WILLOW SMITH 100023 22 (ORIGINAL) TAYLOR SWIFT 100027 25 MINUTES 100028 2PAC CALIFORNIA LOVE 100030 3 WAY LADY GAGA 100031 365 DAYS ZZ WARD 100033 3AM MATCHBOX 2 100035 4 MINUTES MADONNA,JUSTIN TIMBERLAKE 100034 4 MINUTES(LIVE) MADONNA 100036 4 MY TOWN LIL WAYNE,DRAKE 100037 40 DAYS BLESSTHEFALL 100038 455 ROCKET KATHY MATTEA 100039 4EVER THE VERONICAS 100040 4H55 (REMIX) LYNDA TRANG DAI 100043 4TH OF JULY KELIS 100042 4TH OF JULY BRIAN MCKNIGHT 100041 4TH OF JULY FIREWORKS KELIS 100044 5 O'CLOCK T PAIN 100046 50 WAYS TO SAY GOODBYE TRAIN 100045 50 WAYS TO SAY GOODBYE TRAIN 100047 6 FOOT 7 FOOT LIL WAYNE 100048 7 DAYS CRAIG DAVID 100049 7 THINGS MILEY CYRUS 100050 9 PIECE RICK ROSS,LIL WAYNE 100051 93 MILLION MILES JASON MRAZ 100052 A BABY CHANGES EVERYTHING FAITH HILL 100053 A BEAUTIFUL LIE 3 SECONDS TO MARS 100054 A DIFFERENT CORNER GEORGE MICHAEL 100055 A DIFFERENT SIDE OF ME ALLSTAR WEEKEND 100056 A FACE LIKE THAT PET SHOP BOYS 100057 A HOLLY JOLLY CHRISTMAS LADY ANTEBELLUM 500164 A KIND OF HUSH HERMAN'S HERMITS 500165 A KISS IS A TERRIBLE THING (TO WASTE) MEAT LOAF 500166 A KISS TO BUILD A DREAM ON LOUIS ARMSTRONG 100058 A KISS WITH A FIST FLORENCE 100059 A LIGHT THAT NEVER COMES LINKIN PARK 500167 A LITTLE BIT LONGER JONAS BROTHERS 500168 A LITTLE BIT ME, A LITTLE BIT YOU THE MONKEES 500170 A LITTLE BIT MORE DR. -
K Is for Killer
"K" is for KILLER Sue Grafton (A Kinsey Millhone Mystery) Chapter 1 The statutory definition of homicide is the "unlawful killing of one human being by another." Sometimes the phrase "with malice" is employed, the concept serving to distinguish murder from the numerous other occasions in which people deprive each other of life – wars and executions coming foremost to mind. "Malice" in the law doesn't necessarily convey hatred or even ill will but refers instead to a conscious desire to inflict serious injury or cause death. In the main, criminal homicide is an intimate, personal affair insofar as most homicide victims are killed by close relatives, friends, or acquaintances. Reason enough to keep your distance, if you're asking me. In Santa Teresa, California, approximately eighty-five percent of all criminal homicides are resolved, meaning that the assailant is identified, apprehended, and the question of guilt or innocence is adjudicated by the courts. The victims of unsolved homicides I think of as the unruly dead: persons who reside in a limbo of their own, some state between life and death, restless, dissatisfied, longing for release. It's a fanciful notion for someone not generally given to flights of imagination, but I think of these souls locked in an uneasy relationship with those who have killed them. I've talked to homicide investigators who've been caught up in similar reveries, haunted by certain victims who seem to linger among us, persistent in their desire for vindication. In the hazy zone where wakefulness fades into sleep, in that leaden moment just before the mind sinks below consciousness, I can sometimes hear them murmuring. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE PODCAST RHETORICS INSIGHTS INTO PODCASTS AS PUBLIC PERSUASION A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By MATTHEW VINCENT JACOBSON Norman, Oklahoma 2021 PODCAST RHETORICS INSIGHTS INTO PODCASTS AS PUBLIC PERSUASION A DISSERTATION APPROVED FOR THE DEPARTMENT OF ENGLISH BY THE COMMITTEE CONSISTING OF Dr. William Kurlinkus, Chair Dr. Bill Endres Dr. Justin Reedy Dr. Roxanne Mountford Dr. Sandra Tarabochia © Copyright by MATTHEW VINCENT JACOBSON 2021 All Rights Reserved. iv TABLE OF CONTENTS Acknowledgements . viii Abstract . xii Chapter 1: The Argument for Rhetorically Analyzing Podcasts . 1 I. Introduction . 2 II. Rhetorically Defining Podcasts . 5 III. A Call for Podcast Scholarship . 14 IV. Podcast Scholarship in Rhetoric and Writing Studies . 18 V. The Need to Rhetorically Analyze Podcast Rhetoric . 24 VI. Introducing Three Analytics of Podcasting: Technology, Sonic, and Conversational Rhetorics in a Public Argument Over Mask Wearing in The Joe Rogan Experience . 28 VII. Project Overview . 44 Chapter 2: The Technological Horizons of Podcast Persuasion . 45 Chapter 3: The Sounds of Podcast Rhetoric . 47 Chapter 4: Deliberation or Demagoguery? The Rhetoric of Podcast Conversations . 50 Chapter 2: The Technological Horizons of Podcast Persuasion . 53 I. Introduction . 54 II. Rhetorical Theories of Philosophy of Technology . 55 III. The Technological Rhetoric of Podcast Technologies . 64 A. The Rhetoric of Podcasting’s Regulatory Context in the U.S. and the Standing Reserve of Internet Audiences . .64 B. The Rhetoric of Production and Post-Production Tech . .72 v C. The Rhetoric of Distribution and “Listening” Tech . 98 D. -
[Untitled: a Work in Progress]
[Untitled: A Work in Progress] By Cydney Garbino I Torn Wet Red Blood, that’s blood She’s been cut Stabbed Invaded He entered her with his fingers his dirty diseased prick his knife his evil intentions and sick desire to be inside her… Deep. Her screams and pleas a song of anguish and fear music to his ears which envelops him and nearly makes him come that soft voice turning shrill and broken begging please stop stop please stop just let me go I wanna go home I won’t tell anyone I promise I swear to God please just let me go over and over less and less conviction with each repetition growing tired and weak he kept going and eventually it hurt less Numb. Silent. He didn’t like her quiet her response was the whole point Frustrated he draws his knife Blade glimmering in the moonlight…. sick sick sick shit that fucking sick motherfucker cruel bastard sick fuck! Sam I can’t think straight She’s on my mind Always It bothered me not seeing her in our 10 am lecture someone who’s usually so punctual and put together so perfect but, I guess she has seemed different lately... she comes in tardy once in awhile never more than 5 minutes mildly flustered disoriented Her presence is warm and comforting she has this pastel aura silken hair delicate lips sad eyes... she always smells like flowers not in that artificial perfume way Real flowers, a different kind every day Roses Lilies Carnations Peonies It’s like a game: which flower will she be today? Sometimes I feel like I should bring her flowers one of those fancy arrangements they have at the market those remind me of her so delicate and pretty not overwhelmingly dropdead gorgeous Just pretty but not just pretty she’s a simple kind of beautiful and so much more, underneath it all. -
Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H. -
A Practical Approach to Their Economic and Social Impacts
Organisation for Economic Co-operation and Development DSTI/CDEP(2018)5 For Official Use English - Or. English 30 April 2018 DIRECTORATE FOR SCIENCE, TECHNOLOGY AND INNOVATION COMMITTEE ON DIGITAL ECONOMY POLICY ONLINE PLATFORMS: A PRACTICAL APPROACH TO THEIR ECONOMIC AND SOCIAL IMPACTS 16-18 May 2018 Delegates will find attached a draft in progress of the CDEP report on Online Platforms: A Practical Approach to Their Economic and Social Impacts. The report prepared with input from the CCP, MADE, and SPDE Secretariats, builds on the outline presented in November 2017 and the comments received on it. Delegates are invited to comment on this draft and to provide further directions to the Secretariat under Item 7 of the Draft Agenda of the CDEP meeting on 15-16 May 2018. Action Requested: The Committee is invited to discuss the draft and provide further input to finalise the report for the November meeting with a view to declassification. This document is a contribution to IOR 1.1.1.2.3 Assessing the benefits and issues arising from online platforms, of the 2017-2018 Programme of Work of the CDEP. It will also be a contribution to the Going Digital project under Pillar 2. Jeremy West, tel +33 1 45 24 17 51, [email protected] Anne Carblanc, tel +33 1 45 24 93 34, [email protected] Sarah Ferguson, tel +33 1 45 24 18 74, [email protected] JT03430998 This document, as well as any data and map included herein, are without prejudice to the status of or sovereignty over any territory, to the delimitation of international frontiers and boundaries and to the name of any territory, city or area. -
When Podcast Met True Crime: a Genre-Medium Coevolutionary Love Story
Article When Podcast Met True Crime: A Genre-Medium Coevolutionary Love Story Line Seistrup Clausen Stine Ausum Sikjær 1. Introduction “I hear voices talking about murder... Relax, it’s just a podcast” — Killer Instinct Press 2019 Critics have been predicting the death of radio for decades, so when the new podcasting medium was launched in 2005, nobody believed it would succeed. Podcasting initially presented itself as a rival to radio, and it was unclear to people what precisely this new medium would bring to the table. As it turns out, radio and podcasting would never become rivals, as podcasting took over the role of audio storytelling medium – a role that radio had abandoned prior due to the competition from TV. During its beginning, technological limitations hindered easy access to podcasts, as they had to be downloaded from the Internet onto a computer and transferred to an MP3 player or an iPod. Meanwhile, it was still unclear how this new medium would come to satisfy an audience need that other types of storytelling media could not already fulfill. Podcasting lurked just below the mainstream for some time, yet it remained a niche medium for many years until something happened in 2014. In 2014, the true crime podcast Serial was released, and it became the fastest podcast ever to reach over 5 million downloads (Roberts 2014). After its release, podcasting entered the “post-Serial boom” (Nelson 2018; Van Schilt 2019), and the true crime genre spread like wildfire on the platform. Statistics show that the podcasting medium experienced a rise in popularity after 2014, with nearly a third of all podcasts listed on iTunes U.S. -
Title Artist Gangnam Style Psy Thunderstruck AC /DC Crazy In
Title Artist Gangnam Style Psy Thunderstruck AC /DC Crazy In Love Beyonce BoomBoom Pow Black Eyed Peas Uptown Funk Bruno Mars Old Time Rock n Roll Bob Seger Forever Chris Brown All I do is win DJ Keo Im shipping up to Boston Dropkick Murphy Now that we found love Heavy D and the Boyz Bang Bang Jessie J, Ariana Grande and Nicki Manaj Let's get loud J Lo Celebration Kool and the gang Turn Down For What Lil Jon I'm Sexy & I Know It LMFAO Party rock anthem LMFAO Sugar Maroon 5 Animals Martin Garrix Stolen Dance Micky Chance Say Hey (I Love You) Michael Franti and Spearhead Lean On Major Lazer & DJ Snake This will be (an everlasting love) Natalie Cole OMI Cheerleader (Felix Jaehn Remix) Usher OMG Good Life One Republic Tonight is the night OUTASIGHT Don't Stop The Party Pitbull & TJR Time of Our Lives Pitbull and Ne-Yo Get The Party Started Pink Never Gonna give you up Rick Astley Watch Me Silento We Are Family Sister Sledge Bring Em Out T.I. I gotta feeling The Black Eyed Peas Glad you Came The Wanted Beautiful day U2 Viva la vida Coldplay Friends in low places Garth Brooks One more time Daft Punk We found Love Rihanna Where have you been Rihanna Let's go Calvin Harris ft Ne-yo Shut Up And Dance Walk The Moon Blame Calvin Harris Feat John Newman Rather Be Clean Bandit Feat Jess Glynne All About That Bass Megan Trainor Dear Future Husband Megan Trainor Happy Pharrel Williams Can't Feel My Face The Weeknd Work Rihanna My House Flo-Rida Adventure Of A Lifetime Coldplay Cake By The Ocean DNCE Real Love Clean Bandit & Jess Glynne Be Right There Diplo & Sleepy Tom Where Are You Now Justin Bieber & Jack Ü Walking On A Dream Empire Of The Sun Renegades X Ambassadors Hotline Bling Drake Summer Calvin Harris Feel So Close Calvin Harris Love Never Felt So Good Michael Jackson & Justin Timberlake Counting Stars One Republic Can’t Hold Us Macklemore & Ryan Lewis Ft. -
Read Book the Big U Kindle
THE BIG U PDF, EPUB, EBOOK Neal Stephenson | 320 pages | 14 Dec 2002 | HarperCollins Publishers Inc | 9780380816033 | English | New York, NY, United States BIG U | Rebuild By Design LMCR is being implemented in two separate parts. Related content. On April 17, Community members from Lower Manhattan come together to discuss de Blasio's flood protection proposal. The BIG Team. Find Us on Social Media. The events take place at a fictitious big university consisting of a single building a central complex with eight towers containing student housing , making the university an enclosed universe of its own. Stephenson uses this fact to take what starts as a mostly realistic satire and move it further and further into the realm of improbability, with giant radioactive rats, hordes of bats and a lab-made railgun. The book was written while Stephenson attended Boston University. The fictional campus' design is based on a BU dormitory, Warren Towers. Stephenson has said he is not proud of this book. When original editions began selling on eBay for hundreds of dollars, he relented and allowed The Big U to be republished, saying that the only thing worse than people reading the book was paying that much to read it. From Wikipedia, the free encyclopedia. Novel by Neal Stephenson. As his first work it is very reminiscent of Hunter S Thompson 's first book The Rum Diar This is the story of a very serious student trying to navigate the bureaucracy of the ridiculous hyperbole of higher education that is American Mega-university, a sort of parody of every large American university. -
Negotiating Ethics of Participatory Investigation in True Crime Podcasts
Negotiating Ethics of Participatory Investigation in True Crime Podcasts Courtney Cox, Illinois State University Devon Ralston, Winthrop University Charles Woods, Illinois State University According to Edison Research, 73 million people in the US regularly listen to podcasts, with true crime stories proving to be one of the most popular subjects for podcasters to address. These true-to-life stories echo during our morning commute, while we work out at the gym, and during millions of other moments throughout our day, pouring out stories of suspects and vic- tims through our earbuds and our car speakers. Yet, despite (or because of) their prevalence in our culture, investigating true crime podcasts as teachers and researchers invites intersecting concerns of ethics regarding this me- dium. Our panel presentation turns up the volume on the complex activity system of true crime podcasts as both genre and medium, considering ethics, narratology, and pedagogy through a case study of Up and Vanished (UAV). This podcast series provides the kairotic impetus for participatory culture where listeners are propelled, along with host Payne Lindsey, into investi- gating an unsolved cold case. This unique genre provides an opportunity for both narratological analysis and multimodal composing in the college classroom. Yet, in studying true crime podcasts, we must consider ethics ad- jacent to activism and visibility, as well as the potential for this digital genre as remix. Content Warning: Though we will not describe crimes discussed in explicit ways, the following essay speaks generally about particular cases of violence against women. Introduction Much has been written about the potential and consequences of podcasting as a platform for the classroom. -
Blood Meridian-GC.Pdf
BEYOND THE MERIDIAN: AN INTERPRETATION OF THE TITLE BLOOD MERIDIAN OR THE EVENING REDNESS IN THE WEST THESIS Presented to the Graduate Council of Texas State University-San Marcos in Partial Fulfillment of the Requirements for the Degree Master of ARTS by Christopher Muse, B.A. San Marcos, Texas May 2013 BEYOND THE MERIDIAN: AN INTERPRETATION OF THE TITLE BLOOD MERIDIAN OR THE EVENING REDNESS IN THE WEST Committee Members Approved: ___________________________ Mark Busby, Chair ___________________________ Dickie Heaberlin ___________________________ Nancy Grayson Approved: __________________________ J. Michael Willoughby Dean of the Graduate College COPYRIGHT by Christopher Marshall Muse 2013 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author‘s express written permission is not allowed. Duplication Permission As the copyright holder of this work, I, Christopher Muse, refuse permission to copy in excess of the “Fair Use” exemption without my written permission. ACKNOWLEDGEMENTS I would like to thank my committee chair, Dr. Mark Busby, and the members of my committee, Dr. Dickie Heaberlin and Dr. Nancy Grayson, for their invaluable advice, patience, and support. I would also like to thank my parents, Ross and Debra Dawkins, for teaching me to be fearless in the pursuit of my dreams. Most of all, I would like to thank my beautiful best friend, Casey Muse. Thank you for sacrificing your time, energy, and own personal comfort over the last two years while I worked towards this goal.