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By the way, you can't call an airline project "fake" just because it isn't going very far. Most paper projects in this business don't go anywhere. Doesn't mean they weren't genuine ideas to begin with.

Building joint projects Joint projects begin when one participant proposes a project, and end either when participants mutually agree on successful enough completion, or when one or both participants clearly withdraw from the project. Joint purposes in joint actions must meet four requirements: Identification: A&B must identify the same joint purpose Ability: A&B must be able to fulfill their parts Willingness: A&B must be willing to fulfill their parts Mutual belief: A&B must each believe that all requirements are part of the common ground. Building joint projects Complex joint projects are constructed locally by linking adjacency pairs to accomplish a series of successive related goals, or subgoals. [ring] Hello? Hi, it’s Brian, want to go to the park? Thanks, but I’m busy. Options in Joint Projects At each stage, speakers have a number of options for where to go with the project: 1.   Continue directly toward goal. 2.   Initiate side project:       1.   Remember the guy we saw at the park? Well... 3.   Chain a new sub-goal. Options in joint projects Similarly, listeners have options of how they can react to speakers: 1.   Full compliance 2.   Alteration of project 3.   Decline project 4.   Withdraw from project Examples Full compliance •  “Want to go to see Shaun of the Dead?” •  “Sure, what’s a good time?” Alteration of project •  “Hey Jill, we found your missing cat!” •  “You did? Great!” •  “Well, I thinkit’s your cat.” Examples Declining project •  “Does my insurance cover lightning strikes?” •  “I don’t know, actually.” Withdrawal from project •  “So, do you want to go out again on Saturday?” •  “Um, hey, do you when the next bus is coming? I’ve really gotta go...” Evidence of construal How do participants in a conversation decide what the speaker means? Joint construal: What participants mutually take the speaker to mean. (a la Grice 1982) •Notwhat the speaker means (necessarily) Principle of joint construal: For each signal, the speaker and addresses try to create a joint construal of what the speaker is taken to mean. Uptake as evidence of construal •  Uptake provides evidence not only that the hearer understands and utterance, but also of how the hearer contrues that utterance.  If the original speaker accepts the uptake, that construal is taken as the joint construal.  A: Have a seat.  B: Yes sir! B: Thanks, but I’m fine. Uptake as evidence •  Uptake also indicates degree of commitment to a project: A: Hey, let’s go see a movie. B: Sounds great! B: Ok, I guess. Validation and correction of construals •  Uptake gives the original speaker an opportunity to verify or correct that construal.  A: Have a seat. B: Thanks, I’m fine. A: That wasn’t a suggestion. Principle of closure: Agents performing an action require evidence, sufficient for current purposes, that they have succeeded in performing it.  •  Validity •  Economy of effort •  Timeliness •  Least effort ➡Closure is opportunistic: actions are considered complete as soon as sufficient evidence is present.

Preparing to shoot the opening for a long-form infomercial.

I crossed off the people I haven’t heard of. Clay Aiken’s AI songs: “Bridge Over Troubled Water” Simon & Garfunkel, “Here, There and Everywhere” The Beatles, “This is the Night” (original), “Unchained Melody” The Righteous Brothers, “Mack the Knife” Bobby Darin, “Vincent” Don McLean, “Grease” Frankie Valli, “To Love Somebody” The Bee Gees, “Solitaire” Neil Sedaka, “Build Me Up Buttercup” The Foundations, “I Could Not Ask for More” Edwin McCain, “Tell Her About It” Billy Joel, “At This Moment” Billy Vera, “Everlasting Love” Carl Carlton, “Someone Else’s Star” Bryan White, “Somewhere Out There” Linda Ronstadt / James Ingram, “I Can’t Help Myself (Sugar Pie Honey Bunch)” The Four Tops, “Don’t Let the Sun Go Down on Me” Elton John, “Open Arms” Journey, “Always and Forever” Heatwave. Clay has sung “Without You” but not on AI. Kelly Clarkson’s AI songs: “Before Your Love” (original), “A Moment Like This” (original), “Respect” Otis Redding, “Think Twice” Celine Dion, “Without You” Badfinger, “I Surrender” Celine Dion, “It’s Raining Men” The Weather Girls, “Walk On By” Dionne Warwick, “Stuff Like That There” Betty Hutton, “Don’t Play that Song (You Lied)” Ben E. King, “(You Make Me Feel Like) A Natural Woman” Aretha Franklin, “You’re All I Need to Get By”, Marvin Gaye & Tammi Terrell, “Save the Best for Last” Vanessa L. Williams, “I Say A Little Prayer” Dionne Warwick, “At Last” Glen Miller & His Orchestra, “Express Yourself” Madonna. Carrie Underwood’s AI songs: “Angels Brought Me Here” Guy Sebastian, “Independence Day” Martina McBride, “Inside Your Heaven” Carrie Underwood / Bo Bice, “Man! I Feel Like A Woman” Shania Twain, “Making Love Out of Nothing at All” Air Supply, “Crying” Roy Orbison, “If You Don’t Know Me By Now” Harold Melvin & The Blue Notes, “Sin Wagon” Dixie Chicks, “Bless the Broken Road” Nitty Gritty Dirt Band, “Trouble” Elvis Presley, “When God-Fearin’ Women Get the Blues” Martina McBride, “MacArthur Park” Richard Harris, “Love is a Battlefield” Pat Benatar, “Hello, Young Lovers” The King and I cast, “Independence Day” Martina McBride, “Alone” i-Ten, “When Will I be Loved” The Everly Brothers, “Because You Loved Me” Jo Dee Messina, “Piece of My Heart” Erma Franklin, “Could’ve Been” Tiffany, “Independence Day” Martina McBride, “Young Hearts Run Free” Candi Staton, “I Can’t Make You Love Me” Bonnie Raitt. I need one song. Just one. It has to be the right one. I have stuff to sell.

-    -    -    -    -    -    -    - Ajax is a ghost town located in the Rush Valley area of southeastern Tooele County, Utah, USA. The town grew up around a unique department store started in 1869[1] by a Welsh immigrant named William Ajax. He operated the Ajax Underground Store until his death in 1899, and the settlement came to an end as the other residents left by 1900. All that remains today is a hole in the ground, with a historical marker standing nearby. -    -    -    -    -    -    -    - Ajax, Louisiana The community received its name after a naming committee was unable to come up with a suitable name. While they were talking about it, one of the men noticed a boiler plate with the name of Ajax Iron Works stamped on it. He said, "Lets just call it Ajax". The iron plate still exists and is on display in the Ajax Community Center at the intersection of Highways 174 and 487. -    -    -    -    -    -    -    - Ajax (band) New York, NY, United States Electronica 1989 – 1996 Wax Trax! Records Ajax is a New York-based band, led by female singer Arleen Mitchel. The outfit released the single "Mind the Gap" in 1989, on Wax Trax! Records. A full-length self-titled debut LP followed, which combined industrial and acid-house music. The album, and its two singles failed to chart. Mitchel revived the name in the 1990s, most successfully on the 1995 single "Ex-Junkie" which became a minor club hit. "Ex-Junkie" is the band's first (and to date last) entry on the Billboard Hot Dance/Club charts, peaking at number 48.[1] -    -    -    -    -    -    -    - In the Mickey Mouse universe, Ajax, sometimes called the Ajax Corporation, is a name brand which makes several appearances in Mickey Mouse stories (probably parodying The Acme Corporation from Warner Bros.'s Looney Tunes. Coincidentally, the Acme brand was used in Who Framed Roger Rabbit, a Disney film that included cameos from Looney Tunes characters). An early example is in Lonesome Ghosts (1937) where Mickey, Donald, and Goofy work for Ajax Ghost Exterminators. Other examples include Ajax Locksmiths, Ajax Door Fixers, Ajax Hairbow Wear Sale, and Ajax Lost and Found. The name Ajax Corporation makes several appearances in the television series Mickey Mouse Works and Disney's House of Mouse. It is roughly equivalent to Warner Bros.' Acme brand. It bears no relationship to the real-world Ajax line of household cleaning products made and marketed by Colgate-Palmolive company, and actually pre-dates the introduction of Ajax cleanser by Colgate-Palmolive in 1947. Ajax is also the name of the escaped gorilla who appears in the short film Donald Duck and the Gorilla (1944). The Mickey Mouse universe is a fictional universe where some cartoon characters created by the The Walt Disney Company live, the most famous of which is Mickey Mouse. It is coexistent with the Duck universe, a spin-off of the Mickey Mouse universe which centers around Mickey's friend Donald Duck and his rich uncle Scrooge McDuck. "Mickey Mouse universe" is not an official term used by Disney. -    -    -    -    -    -    -    - Ajax (mythology) Ajax or Aias was a mythological Greek hero, the son of Telamon and Periboea, and king of Salamis.[1] He plays an important role in Homer's Iliad and in the Epic Cycle, a series of epic poems about the Trojan War. In Homer's Iliad he is described as of great stature, colossal frame and strongest of all the Achaeans. Known as the 'bulwark of the Mycenaeans', he was trained by the centaur Chiron (who had trained his father, Telamon, and Achilles' father Peleus), at the same time as Achilles. He was described as vicious, fearless, strong and powerful but also with a very high level of combat intelligence. Ajax often fought in tandem with his brother Teucer, known for his skill with the bow. Ajax would wield his magnificent shield, as Teucer stood behind picking off enemy Trojans. -    -    -    -    -    -    -    - The original slogan for Ajax powder was "Stronger than dirt!". This was a reference to the muscular character Ajax of Greek mythology. Some Ajax dish soaps now feature the trademarked slogan "Stronger than grease!" which may be an even more overt reference to the Trojan warrior, with "grease" being a pun on "Greece." However, the name Ajax may also reference an old British name for toilet, "the jakes".[4] Another early slogan was "Ajax... the foaming cleanser!" The first slogan would be used again for its Ajax Laundry Detergent, when introduced in the early 1960s, with an armed knight riding a white horse. At the end of the Doors song "Touch Me", Jim Morrison can be heard saying the slogan "Stronger Than Dirt". A widely mocked commercial in the late 1970s and early 1980s declared, "Armed... with AJAX!" United States actor Eugene Roche gained household fame as AJAX man, "Squeaky Clean", in many 1970s television commercials.[5] In the UK, character actress Ann Lancaster appeared on television advertisements featuring the slogan, "It cleans like a white tornado". However, Colgate ceased all UK advertising for the brand in 1996.[6] In Australia, a number of memorable, if widely panned, television commercials were produced for Ajax Spray n' Wipe from around 1988 to 2010, which were all accompanied with the same music, and featured soap actress Paula Duncan and the same family members. In the fall of 2010, Ajax stopped selling Antibacterial dish soap to make buyers switch to the leading brand Palmolive. -    -    -    -    -    -    -    -

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Rock Bottom's appearance at the MDW (art) Fair Nov. 7-11, 2012.

Getting ready for Brazil.  Departing: 9am: November 17: 2012.

info

Repetition is a way of  learning. The kind of repetition in which each instance builds upon the previous is called iteration. It implies a certain newness to each repeat, with all of them working toward some end goal. This is how children learn. Children don’t necessarily enjoy doing the same thing over and over any more than we do, but they can enjoy it each time because for them it’s new each time; they have a lot more to learn from it than we do and they get a new part of it each time they receive the whole of it. In The Tipping Point Malcolm Gladwell talks about the usage of what would later be called The James Earl Jones Effect in a Sesame Street segment: "Not long afterward (and quite by accident), the Sesame Street writers figured out why kids like repetition so much. The segment in question this time featured the actor James Earl Jones reciting the alphabet. As originally taped, Jones took long pauses between the letters, because the idea was to insert other elements between the letters. But Jones, as you can imagine, cut such a compelling figure that the Sesame Street producers left the film as it was and played it over and over again for years: the letter A or B etc., would appear on the screen, then there would be a long pause, and then James would boom out the name and the letter would disappear. 'What we noticed was that the first time through, kids would shout out the name of the letter after James did,' Sam Gibbon says, 'After a couple of repetitions, they would respond to the appearance of the letter before he did, in the long pause. Then with enough repetitions, they would anticipate the letter before it appeared. They were sequencing themselves through the piece; first they learned the name of the letter, then they learned to associate the name of the letter with its appearance, then they learned the sequence of the letters." And he follows shortly after with: "An adult considers constant repetition boring, because it requires reliving the same experience over and again. But to preschoolers repetition isn't boring, because each time they watch something they are experiencing it in a completely different way." Following called The James Earl Jones Effect, the children’s television show Blues Clues would repeat the same episode five times in a row, bringin the kids along in a way that for them it was taken in as five distinctly different episodes.

One of the things I like about language is that it is shaped and defined by us. We learn it, we use it, and we have a say as to what it is. This of course means it reflects us too. In language we see our own capacities, inventiveness, and responses (good and bad). The ends of language are toward communication; which contributes heavily to the definition of who we are and how we are known.Seeing language as a set or fixed entity limits not only our expressions or use of it but also hinders the capacity and inventiveness which forms language. This pits language against itself. This also happens to be how we typically think of and teach language. This is also an acceptance of language as its own definition which leads to reduced and progressively lesser forms of language. Whether we avoid, accept or even try breaking our rules of language, errors in many forms will appear. Miscommunication is prevalent. Many language-heavy situations like comedy are even difficult to classify or explain but they are part of us. The so-called aberrations are a significant factor in the expanding or newness of language and I think are worth promoting. More linguists should be excited by new and changing language, even if things are lost in the process, because this is the nature of language which is who we are. I view the things around us as useful for responsible and creative use. I also think this is an ongoing process and things like language and culture do not stop or become lost, they evolve and we keep doing new things with them. To stay the same or hold onto the old responses is to in-part give up on ourselves.The rules of grammar are talked about in two ways: prescriptive and descriptive. Prescriptive is backward looking (or selfish) and says that language should be a certain way based on how it was in the past. This version of language is conveyed in terms of some person’s opinion as to how things should be. On the other hand, descriptive language doesn’t really take a stance on how language should be used. It simply states how it is. Much of linguistics today is descriptive. I’m wondering if there could be a third camp, or maybe just an attitude along this line from some linguists, which, excited by the inventiveness of humanity and promoting this expression through language, takes a forward-looking creative use stance. Language is fluid and always changing. Let’s use language rather than collecting it. Wikipedia Summary Language is the capacity and ability to use complex systems of communication. Its study is called linguistics. Used generally, the term refers to our cognitive ability to learn and use these complex systems of communication, or describe the rules of these systems, or the possibilities from those rules. Human language is not a closed system.It has the properties of productivity, recursivity, and displacement. It relies on social convention and learning. It fosters shared intentionality. Because it is so deeply imbedded in human culture, language has a wide variety of uses. Languages rely on the process of semiosis to relate signs with particular meanings. Wikipedia’s third definition of language sees it as a system of communication that enables humans to cooperate. It stresses the social functions and the fact that humans use it to express themselves and manipulate objects in their environment. It deals with pragmatic, cognitive and interactional frameworks. See: Paul Grice. First two paragraphs after 6 translations (English > Italian > Spanish > Dutch > Albanian > Georgian > English) Languages establish and define us. We learn, we use, but it also has something to say about what is exactly. Of course, this means that it affects. In searching for our creativity, skill, and comments (good and bad). Was last tab to communicate, which helps to define who we are and how we met. Language, as a group or a person designated (orders) or their use is not limited only to express, but also affect the ability and ingenuity to form language. (Unknown language against him; this is the way we used to think and learn.) And Definition Language, which leads to a small landing and language forms. Or even preventing, accepting, or attempting to violate the rules of language errors appear in different forms. The lack of relationship is common. The situation is worse in comic still difficult to classify or explain, but they are part of us. Call malpractice is a major factor in the expansion or a new language; I think it would be worth supporting. my notes

my notes, quoted bit is W. Wegman

my notes

Laughter heard on camera or tape is a holdover from the days of radio or live broadcasts of comedic material. While technology certainly has a role in the arrival of the laugh track, its aim initially was to cover for material that was intended to be funny but wasn’t received that way by its audience. The history of the laugh track starts with this deception, which is to say that something which is clearly not funny is actually funny. Once in place, the laugh track was a great excuse to eliminate audiences all together and sequester the production of funny (or not) situations/performances to a closed set.  I would guess that some comedy-interested-people of the time took this as a violation of one of comedy’s essential rules, which is that it does not exist in isolation or without an audience. The audience was still there in a way through broadcasting but the separation made it a fairly disconnected and speculative venture (of course for the viewer the laugh track still provided the necessary cues and the audience "connectedness"). Likely seeing this move as something more direct and aggressive, Marvin Kitman puts it this way “live audiences could not be relied upon to laugh at the "correct" moment. Other times, the audiences would laugh too long or too loud, sounding unnatural and forced or throwing off the performers' rhythms” (from his article "Don't Make Me Laugh" from Channels of Communication, 1981). Charley Douglass, usually credited as the inventor of the laugh track, made sure this wouldn’t happen; the technique he applied became known as “sweetening”. Interestingly, All in the Family, one of the more successful laugh track holdouts (they did “sweeten” on occasion), late in its history started shooting without an audience then playing finished episodes to a live audience in a studio to record their laughter which would be added to the aired version. The line at the end of an episode would read: "All in the Family was played to a studio audience for live responses”. Early laugh track shows came across as phony, but only until writers and performers learned to play to the coming laugh that would appear (magically?) in the show’s editing. Soon, audiences weren't good enough (not laughing right and so on) and were dispensed with entirely. Some shows resisted the laugh track, but for many American viewers the absence of canned laughter meant that they couldn’t actually identify a comedy from a drama. Sid Krofft commented, "We were sort of against that [the laugh track], but Si Rose—being in sitcoms—felt that when the show was put together that the children would not know when to laugh." Marty Krofft added "the bottom line—it's sad—you gotta tell them when it's funny. And the laugh track, [Si] was right, it was necessary, as much as we were always looking to have a real laugh track, a real audience. In comedies, if you don't hear a laugh track, it's not funny. And that's the way the audience [at home] was programmed to view these shows" ("Sid & Marty Krofft - Archive Interview"). The Laff Box: Douglass’ “one-of-a-kind device—affectionately known throughout the industry as the "laff box"—was tightly secured with padlocks, stood more than two feet tall, and operated like an organ. Only immediate members of the family knew what the inside actually looked like (at one time, the "laff box" was called "the most sought after but well-concealed box in the world").” –Wikipedia Misuses: Interestingly the first show to incorporate the laugh track (and of course no real audience), The Hank McCune Show, was cancelled after a few months; presumably because it was not funny. In the 1970s when Douglass raised his rates (he had a monopoly on the practice) many programs, mostly cartoons with smaller budgets, made their own tracks which were noticeably bad, some with laughter erupting mid sentence (see: The Jackson 5ive) and others using the exact same laugh for every joke (see: a bunch of Hanna-Barbera shows). Research: A study was done as recently as 2011 to gauge the necessity of the laugh track, particularly on U.S. sitcoms. Dartmouth College Psychology professor Bill Kelley's continued study of the human brain's response to humor stated "we're much more likely to laugh at something funny in the presence of other people. Hearing others laugh — even if it's prerecorded — can encourage us to chuckle and enjoy ourselves more" (Nierenberg, Cari "We May Hate Laugh Tracks — But They Work, Studies Show"). That Girl creator Sam Denoff commented in 1978 that "laughter is social. It's easier to laugh when you're with people." Denoff added "in a movie theatre, you don't need a laugh track, but at home, watching TV, you're probably alone or with just a few others” (Levin, Eric "Who does all that laughing?" TV Guide). Then & Now: The laugh track wasn’t all bad. It allowed some shows to go new places. There were multi-camera setups, editing was easier, and cheaper, performers had more flexibility and so on. Today, the trend is to not use the laugh track, even many kids cartoons have dropped it. This NYT article is nice. See also: claqueurs* (French theatres), noddies (taped interviews), shills, professional mourning, theme music, astroturfing, and cheerleading (sports). *Unaware of the term or the practice I once employed a group of claqueurs for a seventh grade speech which I knew was terrible and for which I was terribly unprepared. It totally worked. I have the grade to prove it.

my notes

Language is a common structure which allows us to interact. It is a shared system which we agree upon in order to be known, to share, to get along and all that stuff you learn as a kid. Of course it has it less benevolent uses, such as conspiracy. After the Deluge, Noah's descendants settled in the lowlands of Sinear, not far from the Euphrates. The spoke a common language and formed a single community. Genesis 11 tells their story: 'And they said, Go to, let us build us a city and a tower, whose top may reach unto heaven; and let us make us a name, lest we be scattered abroad upon the face of the whole earth.' In addition, the tower had to serve as a landmark to keep people together, despite the fact that God had commanded Noah and his sons to 'replenish' the earth (Genesis 9:1). Also, the tower could be used as a safe haven in case of a new flood. The Tower of Babel (Genesis 11:1-9) Now the whole earth had one language and the same words. And as people migrated from the east, they found a plain in the land of Shinar and settled there.  And they said to one another, “Come, let us make bricks, and burn them thoroughly.” And they had brick for stone, and bitumen for mortar. Then they said, “Come, let us build ourselves a city and a tower with its top in the heavens, and let us make a name for ourselves, lest we be dispersed over the face of the whole earth.” And the Lord came down to see the city and the tower, which the children of man had built. And the Lord said, “Behold, they are one people, and they have all one language, and this is only the beginning of what they will do. And nothing that they propose to do will now be impossible for them. Come, let us go down and there confuse their language, so that they may not understand one another's speech.” So the Lord dispersed them from there over the face of all the earth, and they left off building the city. Therefore its name was called Babel, because there the Lord confused the language of all the earth. And from there the Lord dispersed them over the face of all the earth.