There are 26, 391 occurrences of a font problem called “Font name is not unique” on 677 pages out of 677 pages in the document “'Prufrock' to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922” (by Randall J. Woods) the details of which are printed in a 737 page report titled “All problems according to Preflight profile: List potential font problems” of which the pages (from Woods’s document) affected with the “Font name is not unique” problem are presented on the verso side on which each occurrence of the “Font name is not unique” problem is highlighted in gray (similarly, 49 verso pages are grayed-out [excepting the margin areas] from pages 6-168 and 64 verso pages are grayed-out [excepting the margin areas] from pages 581-733) and annotated with a boxed number (verso pages with boxed numbers occur only up to page 569 of this report) that corresponds to a matching number on a list printed on the recto side titled “Summary of Comments” (“Summary of Comments” recto pages are printed only up to page 570 of this report) that displays the page number (i.e., the page number from Woods’s document), an empty gray-outlined box, the number of occurrence, author (“Preflight”), subject (“Font name is not unique”), printed date and time of the 737 page report, font style, font color, font size, embedded and overprint status of the font and description of the problem (“A font with the same name is embedded multiple times. This can lead to wrong output if the PDF Viewer can not differentiate these fonts.”) of each occurrence that occurs on the verso side (duplicated verso pages [and the original of a duplicate] are accompanied by a recto page with the message “Comments from page [page number of Woods’s document] continued on next page” printed on the bottom of said recto page, for example this is seen on recto pages 166 and 168, both printed opposite a verso page displaying the first page of “The Love Song of J. Alfred Prufrock” on pages 165 and 167)
and there are 1818 occurrences of a font problem called “Text cannot by mapped to Unicode” on 299 pages out of 677 pages in the document “'Prufrock' to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922” by Randall J. Woods) the details of which are printed in a 737 page report titled “All problems according to Preflight profile: List potential font problems” of which the pages (from Woods’s document) affected with the “Text cannot by mapped to Unicode” problem are presented on the verso side on which each occurrence of the “Text cannot by mapped to Unicode” problem is highlighted in gray (similarly, 49 verso pages are grayed-out [excepting the margin areas] from pages 6-168 and 64 verso pages are grayed-out [excepting the margin areas] from pages 581-733) and annotated with a boxed number (verso pages with boxed numbers occur only up to page 569 of this report) that corresponds to a matching number on a list printed on the recto side titled “Summary of Comments” (“Summary of Comments” recto pages are printed only up to page 570 of this report) that displays the page number (i.e., the page number from Woods’s document), an empty gray-outlined box, the number of occurrence, author (“Preflight”), subject (“Text cannot by mapped to Unicode”), printed date and time of the 737 page report, font style, font color, font size, embedded and overprint status of the font and description of the problem (“Text cannot by mapped to Unicode”) of each occurrence that occurs on the verso side (duplicated verso pages [and the original of a duplicate] are accompanied by a recto page with the message “Comments from page [page number of Woods’s document] continued on next page” printed on the bottom of said recto page, for example this is seen on recto pages 166 and 168, both printed opposite a verso page displaying the first page of “The Love Song of J. Alfred Prufrock” on pages 165 and 167).
(2020-2021)
There are 627 diagrammatic blue lines each pointing (from one like-colored rectangle bullet point) to one orange (vertical) rectangle or stripe (à la Barnett Newman) on 253 pages of “Summary of Comments on Mimesis and Poiesis in the Novel: William Faulkner's ‘Go Down, Moses’ and the Mythopoeic Turn in the American Imagination.” (generated on pages 2 to 305) that signify the text error “Black text (100% gray) is smaller than 12 pt” and are each nested within a red (horizontal) rectangle that signify a “Resolution of bitmap images larger than 16x16 pixel is less than 550 ppi inside BleedBox” error and
there are 302 red (horizontal) rectangles that signify a “Resolution of bitmap images larger than 16x16 pixel is less than 550 ppi inside BleedBox” error on 302 pages of "Summary of Comments on Mimesis and Poiesis in the Novel: William Faulkner's ‘Go Down, Moses’ and the Mythopoeic Turn in the American Imagination.” (generated on pages 2 to 305) and
there are 2 lime green (horizontal) rectangles that signify a “Pages does not have TrimBox or ArtBox” error on 2 pages of “Summary of Comments on Mimesis and Poiesis in the Novel: William Faulkner's ‘Go Down, Moses’ and the Mythopoeic Turn in the American Imagination.” (generated on pages 2 to 3) and
there are 8 diagrammatic blue lines each pointing (from one like-colored rectangle bullet point) to one red (vertical) rectangle on two pages of “Summary of Comments on Mimesis and Poiesis in the Novel: William Faulkner's ‘Go Down, Moses’ and the Mythopoeic Turn in the American Imagination.” (generated on pages 1 to 2) that signify the text error “Object defined in DeviceRGB” and are each nested within a lime green (horizontal) rectangle that signify a “Resolution of bitmap images larger than 16x16 pixel is less than 550 ppi inside BleedBox” error.
(2021)
There are 229 rectangle outlines that each serve to annotate a hand-written correction (or white-out removal of a mistake) inside the page area (each page area is a grayscale image with a resolution of color that is greater than 250 ppi) on 101 pages (pages are from “Expressive Metrics: The Context and Development of Some Prosodic Principles in the Poetry of Ezra Pound and T.S. Eliot, 1908-1915” by John David Ballam) which are printed in a 684 page report titled “All problems according to Preflight Profile: List page objects, grouped by type of object” of which each page from Ballam’s document is presented on a verso page upon which a line connects each instance of a rectangle outline to a rectangle bullet point on a list printed on a facing recto page that displays the page number (of Ballam’s document), a rectangle bullet point (that the line connects to), author (“T.E.W. Van Buskirk”), subject (“Rectangle”) and date the rectangle outline was created and there are 88 oval outlines that each serve to annotate hand-written scansion marks, photocopy lines, hand-written diagrams, hand-written music symbols, imprinted stamps and unintentional hand-written marks inside the page area (each page area is a grayscale image with a resolution of color that is greater than 250 ppi) on 60 pages (pages are from “Expressive Metrics: The Context and Development of Some Prosodic Principles in the Poetry of Ezra Pound and T.S. Eliot, 1908-1915” by John David Ballam) which are printed in a 684 page report titled “All problems according to Preflight Profile: List page objects, grouped by type of object” of which each page from Ballam’s document is presented on a verso page upon which a line connects each instance of an oval outline to an oval bullet point on a list printed on a facing recto page that displays the page number (of Ballam’s document), an oval bullet point (that the line connects to), author (“T.E.W. Van Buskirk”), subject (“Oval”) and date the oval outline was created and there are 341 images that are categorized as "Resolution of color and grayscale images is greater than 250 ppi" on 341 pages (pages from “Expressive Metrics: The Context and Development of Some Prosodic Principles in the Poetry of Ezra Pound and T.S. Eliot, 1908-1915” by John David Ballam) which are printed in a 684 page report titled “All problems according to Preflight Profile: List page objects, grouped by type of object” of which each image from Ballam’s document is presented on a verso page and highlighted in gray, upon which a line connects each image to a rectangle bullet point on a list printed on a facing recto page that displays the page number (of Ballam’s document), a rectangle bullet point (that the line connects to), author (“Preflight”), subject (“Resolution of color and grayscale images is greater than 250 ppi”), the date each image was created and description of each image (e.g., "Resolution of color and grayscale images is greater than 250 ppi, Pa ge 145: Gray scale image 525.612x792.072pt 292.596 ppi "Black" overprint: off, Image resolution of color and grayscale images is greater than 250 ppi.").
(2020)
Each occurrence of one of the 30,859 “Text objects” found in the PDF titled “‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf” is documented in a PDF titled “Summary of Comments on ‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf” where each occurrence has its own separate entry (sorted by the date/time that each particular entry in the summary was created) consisting of a checkbox, the original page number on which the “Text objects” occur in “‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf,” the author (“Preflight”) of “Summary of Comments on ‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf,” subject (“Text objects”), and a comment (e.g., “Page 1: TimesNewRomanPSMT 7.82 pt TrueType embedded [as a subset] ‘Black’ [0.0/0.0/0.0/1.0] overprint: off/Reports all text objects except for stroked text and text used as a clipping path.") and each occurrence of one of the 130 “Text with stroked outlines” found in the PDF titled “‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf” is documented in a PDF titled “Summary of Comments on ‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf” where each occurrence has its own separate entry (sorted by the date/time that each particular entry in the summary was created) consisting of a checkbox, the original page number on which the “Text with stroked outlines” occur in “‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf,” the author (“Preflight”) of “Summary of Comments on ‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf,” subject (“Text with stroked outlines”), and a comment (e.g., “Text with stroked outlines, Page 76: SymbolMT 6.88 pt TrueType [CID] embedded [as a subset] stroked: 0.163 pt ‘Black’ [0.0/0.0/0.0/1.0] overprint: off/Lists all text objects whose outlines are stroked.”) and each occurrence of one of the are 520 “Vector objects (filled)” found in the PDF titled “‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf” is documented in a PDF titled “Summary of Comments on ‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf” where each occurrence has its own separate entry (sorted by the date/time that each particular entry in the summary was created) consisting of a checkbox, the original page number on which the “Vector objects (filled)” occur in “‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf,” the author (“Preflight”) of “Summary of Comments on ‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf,” subject (“Vector objects [filled]”), and a comment (e.g., “Vector objects [filled]/Page 77: ‘Black’ [0.0/0.0/0.0/1.0] overprint: off/Reports any filled vector object.”) and each occurrence of one of the 25,049 “Vector objects (stroked)” found in the PDF titled “‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf” is documented in a PDF titled “Summary of Comments on ‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf” where each occurrence has its own separate entry (sorted by the date/time that each particular entry in the summary was created) consisting of a checkbox, the original page number on which the “Vector objects (stroked)” occur in “‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf,” the author (“Preflight”) of “Summary of Comments on ‘Prufrock’ to The Waste Land: T. S. Eliot’s Periodical Publications 1915-1922.pdf,” subject (“Vector objects [stroked]”), and a comment (e.g., “Vector objects [stroked]/Page 1: stroked: 0.659 pt ‘Black’ [0.0/0.0/0.0/1.0] overprint: off/Reports any stroked vector object.”).
(2020)
There are 35 black (bold) rectangles that enclose 35 transparent objects called "Transparency used (soft mask in image)" on 34 verso pages in the document "All problems according to Preflight profile, List transparent objects" (extracted from "Crime and culture: a thematic reading of Sherlock Holmes and his adaptations" by Britney Broyles) out of which each black (bold) rectangle is annotated by a small number inside a small rectangle that corresponds with a numbered reference list entry on the recto page (in the document “Summary of Comments on Crime and culture: a thematic reading of Sherlock Holmes and his adaptations.”) that describe the components of each "Transparency used (soft mask in image)" object in detail (e.g., “Number: 12, Author: Preflight Subject: Transparency used [soft mask in image] Date: 8/11/2020 3:07:56 PM, Transparency used [soft mask in image], Page 31: Color image 307.2x14.52 pt 199.922/198.347 ppi RGB overprint: off, A transparent soft mask is present. Beginning with PDF 1.4 [Acrobat 5] transparency is supported. Some PDF based ISO standards prohibit the use of transparency.”)
and there are 8735 black (bold) rectangles that enclose 8735 transparent objects called "Transparency used (transparency group)" on 263 verso pages in the document "All problems according to Preflight profile, List transparent objects" (extracted from "Crime and culture: a thematic reading of Sherlock Holmes and his adaptations" by Britney Broyles) out of which each black (bold) rectangle is annotated by a small number inside a small rectangle that corresponds with a numbered reference list entry on the recto page (in the document “Summary of Comments on Crime and culture: a thematic reading of Sherlock Holmes and his adaptations.”) that describe the components of each "Transparency used (transparency group)" object in detail (e.g., “Number: 1, Author: Preflight Subject: Transparency used [transparency group] Date: 8/11/2020 3:07:53 PM, Transparency used [transparency group], Page 1: Roboto-Regular 11.0 pt TrueType embedded [as a subset] Gray [0.0] overprint: off, A transparency group entry is present. Beginning with PDF 1.4 [Acrobat 5] transparency is supported. Some PDF based, ISO standards prohibit the use of transparency.”).
(2020)
There is the third color space inventory (see page 1) titled "Inventory report for Document: 'Abhinavagupta's Portrait of a Guru - William C. Laabs_03.pdf'" generated from the third printing that classifies 40 colors used on 379 pages, with either a color scale or a gradient scale printed alongside a box for "C" (cyan), "M" (magenta), "Y" (yellow) and "K" (black) with the space color properties (e.g., "Indexed color space, Maximum valid index: 254, Base color space, DeviceCMYK color space") for each color (on its own page)
and there is the fourth color space inventory (see page 41) titled "Inventory report for Document: 'Abhinavagupta's Portrait of a Guru - William C. Laabs_04.pdf'" generated from the fourth printing that classifies 62 colors used on 379 pages, with either a color scale or a gradient scale printed alongside a box for "C" (cyan), "M" (magenta), "Y" (yellow) and "K" (black) with the space color properties (e.g., "Indexed color space, Maximum valid index: 96, Base color space, DeviceCMYK color space") for each color (on its own page)
and there is the fifth color space inventory (see page 103) titled "Inventory report for Document: 'Abhinavagupta's Portrait of a Guru - William C. Laabs_05.pdf'"generated from the fifth printing that classifies 62 colors used on 379 pages, with either a color scale or a gradient scale printed alongside a box for "C" (cyan), "M" (magenta), "Y" (yellow) and "K" (black) with the space color properties (e.g., "Separation color space: "Registration color" CMYK [0.0/0.0/0.0/1.0], Color name: All, Alternate color space, DeviceCMYK color space") for each color (on its own page)
and there is the sixth color space inventory (see page 165) titled "Inventory report for Document: 'Abhinavagupta's Portrait of a Guru - William C. Laabs_06.pdf'" generated from the sixth printing that classifies 62 colors used on 379 pages, with either a color scale or a gradient scale printed alongside a box for "C" (cyan), "M" (magenta), "Y" (yellow) and "K" (black) with the space color properties (e.g., "Indexed color space, Maximum valid index: 229, Base color space, DeviceCMYK color space") for each color (on its own page)
and there is the seventh color space inventory (see page 227) titled "Inventory report for Document: 'Abhinavagupta's Portrait of a Guru - Revelation and Religious Authority in William C. Laabs_07.pdf'" that classifies 23 colors used on 379 pages, with either a color scale or a gradient scale printed alongside a box for "C" (cyan), "M" (magenta), "Y" (yellow) and "K" (black) with the space color properties (e.g., "Indexed color space, Maximum valid index: 0, Base color space, DeviceRGB color space") for each color (on its own page)
and there is the eighth color space inventory (see page 252) titled "Inventory report for Document: 'Abhinavagupta's Portrait of a Guru - Revelation and Religious Authority in William C. Laabs_08.pdf'" that classifies 25 colors used on 379 pages, with either a color scale or a gradient scale printed alongside a box for "C" (cyan), "M" (magenta), "Y" (yellow) and "K" (black) with the space color properties (e.g., "Indexed color space, Maximum valid index: 28, Base color space, DeviceCMYK color space") for each color (on its own page)
and there is the ninth color space inventory (see page 275) titled "Inventory report for Document: 'Abhinavagupta's Portrait of a Guru - Revelation and Religious Authority in William C. Laabs_09.pdf'" that classifies 20 colors used on 379 pages, with either a color scale or a gradient scale printed alongside a box for "C" (cyan), "M" (magenta), "Y" (yellow) and "K" (black) with the space color properties (e.g., "Indexed color space, Maximum valid index: 112, Base color space, DeviceCMYK color space") for each color (on its own page).
(2020)
There are 296 thumbnail images of each of the 296 pages from “The_Waste_Land_-_Norton_Critical_Editions.pdf” (resulted from "The Waste Land: Authoritative text, Contexts, Criticism" by Michael North [Editor] and T. S. Eliot [Author]) that are printed one to a page on pages 14 to 309 in a 309 page “Inventory report for Document: ‘The_Waste_Land_-_Norton_Critical_Editions.pdf’” (as can be seen from the icon of a magnifying glass on the top right corner of each page) resulted from “The_Waste_Land_-_Norton_Critical_Editions.pdf” that details the properties of each of the 296 pages with a thumbnail image of the page next to a description (e.g., “Image properties: Page 23: Gray, Width/Height [pixel]: 1023/1648, Bits per color component: 1, Treated as a mask: False, Perform interpolation: False, Compression/encoding, JBI2 compression [JBIG2Decode], DeviceGray color space”)
and there are 9 Modular grids, each titled “Glyphs used in the PDF” for the 9 fonts (HiddenHorzOCR, Helvetica, Helvetica-Bold, Helvetica-BoldOblique, Helvetica-Oblique, Times-Bold, Times-BoldItalic, Times-Italic and Times Roman) used in the document “The_Waste_Land_-_Norton_Critical_Editions.pdf” (resulted from "The Waste Land: Authoritative text, Contexts, Criticism" by Michael North [Editor] and T. S. Eliot [Author])that are printed one to a page on pages 5 to 13 in a 309 page “Inventory report for Document: ‘The_Waste_Land_-_Norton_Critical_Editions.pdf’” (as can be seen from the icon of a magnifying glass on the top right corner of each page) resulted from “The_Waste_Land_-_Norton_Critical_Editions.pdf” that details the “Glyphs used in the PDF” in a Modular grid (e.g., “U+0020, CID 32, space”) next to a description of the “Font properties” for each of the 9 fonts (e.g., “Type 0 font: ‘HiddenHorzOCR,’ Postscript name: HiddenHorzOCR, Unicode CMap is present, Encoding: Identity-H, Descendant fonts…”)
and there are 3 gradient color progression scales for the 3 colors (ImgMaskColor_1, ImgMaskColor_2, and ImgMaskColor_3) used in the document “The_Waste_Land_-_Norton_Critical_Editions.pdf” (resulted from "The Waste Land: Authoritative text, Contexts, Criticism" by Michael North [Editor] and T. S. Eliot [Author]) printed one to a page on pages 2 to 4 in a 309 page “Inventory report for Document: ‘The_Waste_Land_-_Norton_Critical_Editions.pdf’” (as can be seen from the icon of a magnifying glass on the top right corner of each page) resulted from “The_Waste_Land_-_Norton_Critical_Editions.pdf” where a gradient color progression scale is placed next to a description of the color (e.g., “Separation color space: ‘ImgMaskColor_3’ RGB [1.0/0.0/0.0], Color name: ImgMaskColor_3, Alternate color space, DeviceRGB color space”).
(2020)
There are 1601 blood red (bold) rectangles that enclose 1601 transparent objects called "Transparency used (transparency group)" on 264 pages with a lime green background (note that a white Bleed margin has been added) and 5 pages with a white background (note that a white Bleed margin has been added) in "Preflight Summary Report for: The Rhetorical Strategies of Don Quixote and Sancho Panza - pages 1 to 59, Profile: List Transparent Objects [processed pages 1 to 58]” (or “All problems according to Preflight profile, List transparent objects") on all verso pages (extracted from "The Rhetorical Strategies of Don Quixote and Sancho Panza - pages 1 to 59.pdf" by David T. Tarvin [2013]) out of which each blood red (bold) rectangle is annotated by a small number inside a small square that corresponds with a blood red outlined bullet point on a numbered reference list entry on the recto page (in "Summary of Comments on The Rhetorical Strategies of Don Quixote and Sancho Panza - pages 1 to 59.pdf" on all recto pages) that describe the components of each "Transparency used (transparency group)" object in detail (e.g., " Number: 22, Author: Preflight Subject: Transparency used [transparency group] Date: 11/9/2020 9:57:23 AM, Transparency used [transparency group], Page 44: Calibri 12.0 pt TrueType [CID] embedded [as a subset] Gray [0.0] overprint: off, A transparency group entry is present. Beginning with PDF 1.4 [Acrobat 5] transparency is supported. Some PDFbased ISO standards prohibit the use of transparency.")
and there is one blood red (bold) rectangle that encloses 1 transparent object called "Transparency used (soft mask in image)" on 1 verso page with a white background (note that a white Bleed margin has been added) in "Preflight Summary Report for: The Rhetorical Strategies of Don Quixote and Sancho Panza - pages 1 to 59, Profile: List Transparent Objects [processed pages 1 to 58]” (or “All problems according to Preflight profile, List transparent objects") on all verso pages (extracted from "The Rhetorical Strategies of Don Quixote and Sancho Panza - pages 1 to 59.pdf" by David T. Tarvin [2013]) out of which the blood red (bold) rectangle is annotated by a small number inside a small square that corresponds with a blood red outlined bullet point on a numbered reference list entry on the recto page (in "Summary of Comments on The Rhetorical Strategies of Don Quixote and Sancho Panza - pages 1 to 59.pdf" on all recto pages) that describes the component of the "Transparency used (soft mask in image)" object in detail (e.g., "Number: 12, Author: Preflight Subject: Transparency used [soft mask in image], Date: 11/9/2020 9:57:15 AM, Transparency used [soft mask in image], Page 1: Color image 13.5x13.5 pt 2880.0/2970.667 ppi RGB overprint: off, A transparent soft mask is present. Beginning with PDF 1.4 [Acrobat 5] transparency is supported. Some PDFbased ISO standards prohibit the use of transparency.").
(2020)
There are four layers of Trim Marks on each of the 299 pages of Otilia C. Milutin’s “Panic Attacks: Violent Female Displacement in The Tale of Genji” where each layer is produced by reducing the size of each page of the previous generation via reproducing a new set of Trim Marks over the top of the previous generation, therefore the Trim Marks on the fourth layer are the largest whereas the Trim Marks on the first layer are the smallest and there are four layers of Bleed Marks on each of the 299 pages of Otilia C. Milutin’s “Panic Attacks: Violent Female Displacement in The Tale of Genji” where each layer is produced by reducing the size of each page of the previous generation via reproducing a new set of Bleed Marks over the top of the previous generation, therefore the Bleed Marks on the fourth layer are the largest whereas the Bleed Marks on the first layer are the smallest and there are four layers of Registration Marks on each of the 299 pages of Otilia C. Milutin’s “Panic Attacks: Violent Female Displacement in The Tale of Genji” where each layer is produced by reducing the size of each page of the previous generation via reproducing a new set of Registration Marks over the top of the previous generation, therefore the Registration Marks on the fourth layer are the largest whereas the Registration Marks on the first layer are the smallest and there are four layers of Color Bars (both grayscale and color) on each of the 299 pages of Otilia C. Milutin’s “Panic Attacks: Violent Female Displacement in The Tale of Genji” where each layer is produced by reducing the size of each page of the previous generation via reproducing a new set of Color Bars (both grayscale and color) over the top of the previous generation, therefore the Color Bars (both grayscale and color) on the fourth layer are the largest whereas the Color Bars (both grayscale and color) on the first layer are the smallest and there are four layers of Page Information on each of the 299 pages of Otilia C. Milutin’s “Panic Attacks: Violent Female Displacement in The Tale of Genji” where each layer is produced by reducing the size of each page of the previous generation via reproducing a new set of Page Information over the top of the previous generation, therefore the Page Information on the fourth layer is the largest whereas the Page Information on the first layer is the smallest.
(2020)
There are 6159 “yellow sticky note” (or yellow speech balloon or bubble) icons that mark 6159 occurrences (or 6159 matches on 32 pages, i.e., “yellow sticky note” [or yellow speech balloon or bubble] icons are seen on each page from page 1 through 32
[page numbers that are printed at the bottom-center of the page])
out of 50,981 occurrences (or 50,981 matches on 141 pages) of a “Font not embedded” problem in Jeff Gatrall’s “Word and Image in Dostoevsky’s The Brothers Karamazov: From an Analysis of the Dialectic in the Novel to an Interpretation of Dostoevsky’s Confrontation with Hans Holbein the Younger’s The Body of the Dead Christ in the Tomb [see figure 1 on page 63 or 71]”
(page numbers are printed at the top right corner of the page in the original document)
generated by Adobe Acrobat Pro for a document titled “All problems according to Preflight profile List potential font problems” (this title is notated at the top left corner of each page starting on page 1),
however, this does not include text that is a digital image (e.g., see pages 1, 2, 7, 8, 9 [or 1], 43 [or 35], 67 [or 59], 68 [or 60], 70 [or 62], 72 [or 64], 79 [or 71], 106 [or 98] and 119 [or 111]) and
there are 50,981 black dash-dotted rectangles that border each occurrence (or 50,981 matches on 141 pages, i.e., black dash-dotted rectangles are seen on each page from page 1 through 141 [page numbers that are printed at the bottom-center of the page]) of a “Font not embedded” problem in Jeff Gatrall’s “Word and Image in Dostoevsky’s The Brothers Karamazov: From an Analysis of the Dialectic in the Novel to an Interpretation of Dostoevsky’s Confrontation with Hans Holbein the Younger’s The Body of the Dead Christ in the Tomb [see figure 1 on page 63 or 71]”
(page numbers are printed at the top right corner of the page in the original document)
generated by Adobe Acrobat Pro for a document titled “All problems according to Preflight profile List potential font problems” (this title is notated at the top left corner of each page starting on page 1),
however, this does not include text that is a digital image (e.g., see pages 1, 2, 7, 8, 9 [or 1], 43 [or 35], 67 [or 59], 68 [or 60], 70 [or 62], 72 [or 64], 79 [or 71], 106 [or 98] and 119 [or 111]).
(2020)
There is a 332 page PDF named “Inventory Report for Document: ‘Apple & Leo.pdf’” (see pages 1 to 332) resulted from a 165 page PDF named “Apple & Leo.pdf” (see Appendix A on pages 381 to 547) processed by T.E.W. Van Buskirk on 3/30/2020 at 2:58 PM, which is resulted from a Microsoft Word document “fortyfive_original.doc” authored by Todd Winkels on 08/12/2015 of which 330 images (or single panel comics) from "Apple & Leo.pdf" (see Appendix A on pages 381 to 547) are systematically inventoried by extracting each one of the 330 images (or single panel comics) into a 332 page PDF named “Inventory Report for Document: ‘Apple & Leo.pdf’” (see pages 1 to 332) and printing each image (or single panel comic) on its own page and citing the page number of the page the image (or single panel comic) originally appeared on in “Apple & Leo.pdf” (page numbers from “Apple & Leo.pdf” are printed within brackets on the left side of the page numbers [at the bottom center of the page] to Appendix A on pages 381 to 547) citing the image (or single panel comic) number and noting the image (or single panel comic) properties in detail (e.g., Page 1: RGB, Width/Height [pixel]: 1064/799, Bits per color component: 8, Treated as a mask: False, Perform interpolation: False, Compression/encoding, JPEG compression [DCTDecode], DeviceRGB color space)
out of which is resulted a 47 page PDF named “Inventory Report for Document: ‘Apple & Leo_02.pdf’” (see pages 333 to 379) resulted from a 165 page PDF named “Apple & Leo_02.pdf” (see Appendix B on pages 549 to 715) processed by T.E.W. Van Buskirk on 3/31/2020 at 9:32 AM, which is an exact copy of “Apple & Leo.pdf” (see Appendix A on pages 381 to 547) resulted from a Microsoft document file “fortyfive_original.doc” authored by Todd Winkels on 08/12/2015 which extracts the original 45 images (or single panel comics) utilized to produce 330 images (or single panel comics) via means of duplication of each image (or single panel comic) at a minimum of two copies per image (or single panel comic) into a 47 page PDF named “Inventory Report for Document: ‘Apple & Leo_02.pdf’” (see pages 333 to 379) which inventories the number of occurrences each image (or single panel comic) appears on a given page number by printing each image (or single panel comic) on its own page and citing the page number of the page the image (or single panel comic) originally appeared on in “Apple & Leo_02.pdf” (page numbers from “Apple & Leo_02.pdf” are printed within brackets on the left side of the page numbers [at the bottom center of the page] to Appendix B on pages 549 to 715) citing the image (or single panel comic) number, listing the page numbers of the pages the image (or single panel comic) originally appeared on in “Apple & Leo_02.pdf” (see Appendix B on pages 549 to 715) and noting the image (or single panel comic) properties in detail (e.g., Page 19: RGB, Width/Height [pixel]: 1065/798, Bits per color component: 8, Treated as a mask: False, Perform interpolation: False, Compression/encoding, JPEG compression [DCTDecode], DeviceRGB color space).
(2020)
There are roughly 5 Em-dashes (each are made via two hyphens typewritten with no space between them) in Chapter 1 “Introduction” to “Structure and Imagery Patterns in the Poetry of Emily Dickinson” by Suzanne Marie Wilson (1959) that are each annotated (with accompanying word[s] and possible punctuation) by means of a rectangle and a connector line that points to their location on a summary list titled "Em-dashes on page [page number]" printed on the recto (or opposite) side of select pages between pages 1 through 28 (pages with no Em-dashes are also noted on the recto side of the page with the phrase "The page on the left contains no Em-dashes")
and there are roughly 268 Em-dashes (each are made via two hyphens typewritten with no space between them) in Chapter 2 “The Poetry of 1862” of “Structure and Imagery Patterns in the Poetry of Emily Dickinson” by Suzanne Marie Wilson (1959) that are each annotated (with accompanying word[s] and possible punctuation) by means of a rectangle and a connector line that points to their location on a summary list titled "Em-dashes on page [page number]" printed on the recto (or opposite) side of select pages between pages 29 and 71 (pages with no Em-dashes are also noted on the recto side of the page with the phrase "The page on the left contains no Em-dashes")
and there are roughly 228 Em-dashes (each are made via two hyphens typewritten with no space between them) in Chapter 3 “The Poetry of 1858-1861” of “Structure and Imagery Patterns in the Poetry of Emily Dickinson” by Suzanne Marie Wilson (1959) that are each annotated (with accompanying word[s] and possible punctuation) by means of a rectangle and a connector line that points to their location on a summary list titled "Em-dashes on page [page number]" printed on the recto (or opposite) side of select pages between pages 72 and 117 (pages with no Em-dashes are also noted on the recto side of the page with the phrase "The page on the left contains no Em-dashes")
and there are roughly 192 Em-dashes (each are made via two hyphens typewritten with no space between them) in Chapter 4 “The Poetry of 1863-1865” of “Structure and Imagery Patterns in the Poetry of Emily Dickinson” by Suzanne Marie Wilson (1959) that are each annotated (with accompanying word[s] and possible punctuation) by means of a rectangle and a connector line that points to their location on a summary list titled "Em-dashes on page [page number]" printed on the recto (or opposite) side of select pages between pages 118 and 145 (pages with no Em-dashes are also noted on the recto side of the page with the phrase "The page on the left contains no Em-dashes")
and there are roughly 99 Em-dashes (each are made via two hyphens typewritten with no space between them) in Chapter 5, “The Poetry of 1866-1886” of “Structure and Imagery Patterns in the Poetry of Emily Dickinson” by Suzanne Marie Wilson (1959) that are each annotated (with accompanying word[s] and possible punctuation) by means of a rectangle and a connector line that points to their location on a summary list titled "Em-dashes on page [page number]" printed on the recto (or opposite) side of select pages between pages 146 and 174 (pages with no Em-dashes are also noted on the recto side of the page with the phrase "The page on the left contains no Em-dashes")
and there are roughly 3 Em-dashes (each are made via two hyphens typewritten with no space between them) in Chapter 6 “Conclusion” of “Structure and Imagery Patterns in the Poetry of Emily Dickinson” by Suzanne Marie Wilson (1959) that are each annotated (with accompanying word[s] and possible punctuation) by means of a rectangle and a connector line that points to their location on a summary list titled "Em-dashes on page [page number]" printed on the recto (or opposite) side of select pages between pages 175 and 187 (pages with no Em-dashes are also noted on the recto side of the page with the phrase "The page on the left contains no Em-dashes")
and there are roughly 2 Em-dashes (each are made via two hyphens typewritten with no space between them) in the “Bibliography” of “Structure and Imagery Patterns in the Poetry of Emily Dickinson” by Suzanne Marie Wilson (1959) that are each annotated (with accompanying word[s] and possible punctuation) by means of a rectangle and a connector line that points to their location on a summary list titled "Em-dashes on page [page number]" printed on the recto (or opposite) side of select pages between pages 189 and 193 (pages with no Em-dashes are also noted on the recto side of the page with the phrase "The page on the left contains no Em-dashes").
(2019)
74 excerpts from 7 Beckett plays are presented on the original pages in which they appear in Andrew K. Kennedy's book, "Samuel Beckett" (1989) for the "British and Authors Introductory Critical Studies" series published by the Press Syndicate of the University of Cambridge (and with a dedication to Ruby Cohn), but with Kennedy’s body text removed from pages with excerpts, i.e., pages 13 (1 excerpt from Three Dialogues and 1 excerpt from Krapp's Last Tape), 14 (1 excerpt from Collected Shorter Plays), 25 (1 excerpt from Waiting for Godot), 27 (1 excerpt from Waiting For Godot), 29 (1 excerpt from Waiting For Godot), 30 (1 excerpt from Waiting For Godot), 37 (1 excerpt from Waiting For Godot), 38 (1 excerpt from Waiting For Godot continued from page 37 and 1 excerpt native to page 38), 39 (2 excerpts from Waiting For Godot), 42 (1 excerpt from Waiting For Godot), 44 (2 excerpts from Waiting For Godot), 45 (1 excerpt from Waiting for Godot), 48 (1 excerpt from Endgame), 51 (2 excerpts from Endgame), 52 (4 excerpts from Endgame), 54 (2 excerpts from Endgame), 55 (1 excerpt from Endgame that is continued from page 54 and 1 excerpt native to page 55), 56 (2 excerpts from Endgame), 57 (1 excerpt from Endgame), 58 (1 excerpt from Endgame), 59 (2 excerpts from Endgame), 60 (1 excerpt from Endgame that is continued from page 59), 65 (2 excerpts from Endgame), 69 (1 excerpt from Krapp's Last Tape), 72 (1 excerpt from Krapp's Last Tape), 73 (1 excerpt from Krapp's Last Tape), 78 (1 excerpt from Happy Days), 79 (2 excerpts from Happy Days), 80 (3 excerpts from Happy Days), 81 (5 excerpts from Happy Days), 82 (2 excerpts from Happy Days), 83 (2 excerpts from Happy Days), 85 (2 excerpts from Happy Days), 87 (1 excerpt from Happy Days), 88 (1 excerpt from Happy Days), 89 (1 excerpt from Happy Days), 90 (4 excerpts from Happy Days), and 93 (2 excerpts from Play), 95 (3 excerpts from Play), 96 (4 excerpts from Play), 97 (3 excerpts from Play), 98 (1 excerpt from Play), 99 (1 excerpt from Play) and with Kennedy’s body text removed from pages with no excerpts (i.e., pages 1-12, 15-24, 26, 28, 31-36, 40, 41, 43, 46-47, 50, 53, 61-64, 66-68, 70, 71, 74-77, 84, 86, 91, 92, 94, and 100-108).
(a play, 2019)
There are 603 instances of a left parenthesis (paired with a right parenthesis) in William Faulkner’s “Absalom, Absalom!” (New York: Random House, 1936) with each instance of a left parenthesis annotated by means of a computer-generated box (that boxes the left parenthesis possibly alongside a word with possible punctuation marks) with a computer-generated line that connects the left parenthesis from its location on a page in “Absalom, Absalom!” printed in a reduced size (rotated counter-clockwise by 90 degrees) and located at the bottom of pages 1 through 198 to a summary list (also rotated counter-clockwise by 90 degrees) located above the (previously mentioned) page from “Absalom, Absalom!” (printed in a reduced size [rotated counter-clockwise by 90 degrees] and located at the bottom of pages 1 through 198).
There are 603 instances of a right parenthesis (paired with a left parenthesis) in William Faulkner’s “Absalom, Absalom!” (New York: Random House, 1936) with each instance of a right parenthesis annotated by means of a computer-generated box (that boxes the right parenthesis alongside a word with possible punctuation marks) with a computer-generated line that connects the right parenthesis from its location on a page in “Absalom, Absalom!” printed in a reduced size (rotated counter-clockwise by 90 degrees) and located at the bottom of pages 199 through 396 to a summary list (also rotated counter-clockwise by 90 degrees) located above the (previously mentioned) page from “Absalom, Absalom!” (printed in a reduced size [rotated counter-clockwise by 90 degrees] and located at the bottom of pages 199 through 396).
(2019)
"89+4" is a notation that indicates that the location of a Zapf Dingbat character (a drop-shadowed circle about 28 mm in diameter) is at the 4th line from the top of page 89. "606-5" indicates that the Zapf Dingbat is at five lines from the bottom of page 606. (A minus sign instead of plus indicates the number of lines counted from the bottom of the indicated page or paragraph.) "138.4+3" indicates that "138" is the page number, "4" is the 4th paragraph which begins on that page and "3" indicates the 3rd line in the 4th paragraph. "428.0-4" indicates that "428" is the page number and "0" means the Zapf Dingbat is located in the paragraph begun on the preceding page (i.e. prior to the first indent on p. 428) and "-4" means the 4th line up from that paragraph. Other locations for the Zapf Dingbat are at 110-2, 213.2-8, 242.1+2, 300.1+10, 343+8, 425-15, 487-2, 520+4 and 555+14.
(2019)
There is a map, compass rose and scale bar with no identifiers (i.e., no word, number, or letter) located on the front flyleaf
and there is a map, compass rose and scale bar located on the back flyleaf (located after page 49) that is identical to the map, the compass rose and scale bar on the front flyleaf except for 13 words (added to the map), 1 word (added to the scale bar), 3 numbers (added to the scale bar), and 4 letters (added to the compass rose).
The letters for 4 words (out of the 13 added to the map) "Hakotube,” “Putupe,” “Mupetohoo” and “Tunohemi" are printed in upper case with the letters for 9 words "Homapoone,” “Kihoto,” “Tohota,” “Hunenoo,” “Pookiho,” “Pitoohu,” “Pupopooho,” “Kenumi” and “Muhehuno" made smaller (than the previously mentioned 4 words) and in lower case (with only the first letter of each word in upper case) out of which 5 words "Hunenoo,” “Pitoohu,” “Pupopooho,” “Kenumi” and “Muhehomo" are the smallest in size compared to all words added to the map.
Outside of the map there are the letters "N," "W," "E," and "S" added (printed in uppercase) with one letter placed at each of the four cardinal points of the compass rose. The word "Miles" (the first letter is printed in uppercase with the following letters in lower case) is added with numbers "10," "0" and "40" added just above the scale bar.
(2017-2023)
Each one of the 81 forward slashes found on (verso) pages 13 to 33 containing Chapter 2 "Scansion and Sequence labelling" are highlighted (alongside possible accompanying letters, words, punctuation, numerals or greater-than and less-than symbols) by means of a rectangle, after which a "Summary of forward slashes" page is generated on the recto side of pages 13 to 33 (page number at the top) that documents each forward slash with a rectangle bullet point, author (intentionally left blank), subject ("The forward slash"), date and time the rectangle was created, and a copy of the forward slash itself (not counting the forward slash used as a delimiter between month, day and year in the date mentioned above) alongside possible accompanying letters, words, punctuation, numerals or greater-than and less-than symbols (joined by means of a connector line to its location on the verso page)
and each one of the 103 forward slashes found on (verso) pages 35 to 47 containing Chapter 3 "Annotated corpora of verse" are highlighted (alongside possible accompanying letters, words, punctuation, numerals or greater-than and less-than symbols) by means of a rectangle, after which a "Summary of forward slashes" page is generated on the recto side of pages 35 to 47 (page number at the top) that documents each forward slash with a rectangle bullet point, author (intentionally left blank), subject ("The forward slash"), date and time the rectangle was created, and a copy of the forward slash itself (not counting the forward slash used as a delimiter between month, day and year in the date mentioned above) alongside possible accompanying letters, words, punctuation, numerals or greater-than and less-than symbols (joined by means of a connector line to its location on the verso page)
and each one of the 80 forward slashes found on (verso) pages 50 to 89 containing Chapter 4 "NLP techniques for scansion" are highlighted (alongside possible accompanying letters, words, punctuation, numerals or greater-than and less-than symbols) by means of a rectangle, after which a "Summary of forward slashes" page is generated on the recto side of pages 50 to 89 (page number at the top) that documents each forward slash with a rectangle bullet point, author (intentionally left blank), subject ("The forward slash"), date and time the rectangle was created, and a copy of the forward slash itself (not counting the forward slash used as a delimiter between month, day and year in the date mentioned above) alongside possible accompanying letters, words, punctuation, numerals or greater-than and less-than symbols (joined by means of a connector line to its location on the verso page)
and each one of the 57 forward slashes found on (verso) pages 92 to 110 containing Chapter 5 "Experiments and results" are highlighted (alongside possible accompanying letters, words, punctuation, numerals or greater-than and less-than symbols) by means of a rectangle, after which a "Summary of forward slashes" page is generated on the recto side of pages 92 to 110 (page number at the top) that documents each forward slash with a rectangle bullet point, author (intentionally left blank), subject ("The forward slash"), date and time the rectangle was created, and a copy of the forward slash itself (not counting the forward slash used as a delimiter between month, day and year in the date mentioned above) alongside possible accompanying letters, words, punctuation, numerals or greater-than and less-than symbols (joined by means of a connector line to its location on the verso page)
and each one of the 15 forward slashes found on (verso) pages 115 to 119 containing Chapter 6 "Discussion and Future Directions" are highlighted (alongside possible accompanying letters, words, punctuation, numerals or greater-than and less-than symbols) by means of a rectangle, after which a "Summary of forward slashes" page is generated on the recto side of pages 115 to 119 (page number at the top) that documents each forward slash with a rectangle bullet point, author (intentionally left blank), subject ("The forward slash"), date and time the rectangle was created, and a copy of the forward slash itself (not counting the forward slash used as a delimiter between month, day and year in the date mentioned above) alongside possible accompanying letters, words, punctuation, numerals or greater-than and less-than symbols (joined by means of a connector line to its location on the verso page).
(2019)
There are 383 instances of the printed name “Catherine” that grow to 859 instances because “Catherine” appears once within the 23 word character description (“An Orphan Brought To Live At Wuthering Heights By Mr. Earnshaw, He Falls Into An Intense, Unbreakable Love With Mr. Earnshaw’s Daughter Catherine”) that replaces all 476 instances of the printed name “Heathcliff." (Observe the text highlighted in red.)
After which a 15 word character description (“The Daughter Of Mr. Earnshaw And His Wife, She Falls Powerfully In Love With Heathcliff”) replaces the printed name “Catherine” 859 times (and it’s variant “Cathy” 124 times). (Observe the text highlighted in blue.)
The (now) 983 instances of the name “Heathcliff” that now reside in each appearance of the 15 word character description for “Catherine” (and “Cathy”) and the (now) 37 word character description for “Heathcliff” are in turn replaced by the 23 word character description of “Heathcliff.”
Likewise, the 983 instances of the name “Catherine” that now reside in each appearance of the (now) 59 word character description for “Heathcliff” and the (now) 37 word character description for “Catherine” (and “Cathy”) are replaced by the 15 word character description for “Catherine” (and “Cathy”).
There are still 983 instances of “Heathcliff” that remain in each appearance of the (now) 73 word character description for “Heathcliff” and (now) 52 word character description for “Catherine” (and “Cathy”). (Observe the text highlighted in red and blue.)
There are also 4 instances of the "Heathcliff" variant known as “Hathecliff” that remain without initially being replaced by the 23 word character description for “Heathcliff.”
(2019)
Page 81 is created (or finished) by superimposing a replica (or reproduction) of page 244 (at a reduced size) on the surface of page 81 at an odd angle (with a Shadow effect added). For example: "There were already half a dozen estate cars cast at odd angles on the high verges beyond the coned-off area around the church gate." Likewise, page 114 is created (or finished) by superimposing a replica (or reproduction) of page 411 (at a reduced size) on the surface of page 114 at an odd angle (with a Shadow effect added). For example: "Across the road, Romanovsky pointed out a long trench running into the woods. The trench, he explained, had been formed when a wedge of underground ice had melted. The spruce trees that had been growing next to it, or perhaps on top of it, were now listing at odd angles, as if in a gale."
(2017)
“I promise there are two pages between pages 34 and 37. They promise there are ten pages between pages 122 and 133. She promises there are twenty-four pages between pages 201 and 226. He promises there are fifty-one pages between pages 423 and 475. This is a promise there are one-hundred and forty-four pages between pages 502 and 647. There is a promise that there are six-hundred and forty pages between pages 7 and 648.”
(a novel, 2017)
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Recognition of the significance of speech acts has illuminated the ability of language to do other things than describe reality. In the process the boundaries among the philosophy of language, the philosophy of action, aesthetics, the philosophy of mind, political philosophy, and ethics have become less sharp. In addition, an appreciation of speech acts has helped lay bare a normative structure implicit in linguistic practice, including even that part of this practice concerned with describing reality.
Austin famously claimed that performatives are not statements (1962, p. 6). This may be taken either as the claim that performative sentences, even those in the indicative grammatical mood, lack truth value; or instead as the claim that utterances of performative sentences, even when such sentences have truth value, are not assertions. One can consistently hold that an indicative sentence has truth value, and even that it may be uttered in such a way as to say something true, while denying that its utterance is an assertion. (Testing a microphone in a windowless room, I utter, “It's raining,” and it happens to be raining outside. Here I have said something true but have made no assertion.)
Lemmon 1962 argues that performative utterances are true on the ground that they are instances of a wider class of sentences whose utterance guarantees their truth. If sound, this argument would show that performatives have truth value, but not that they are assertions. It also leaves unanswered the question why some verb phrases such as ‘I promise’ may be used performatively while others cannot be so used. Sinnott-Armstrong 1994 also argues that performatives can have truth value without addressing the question whether they are also used to make assertions. Reimer 1995 argues that while performatives have truth values, they are not also assertions. Adopting a similar strategy, Jary 2007 aims to explain how utterances of such sentences as “I order you to clean the kitchen,” can succeed in being orders. In so doing he draws on Green's 2007 analysis of showing to argue that such utterances show (rather than merely describe) the force of the speaker's utterance. Because ‘show’ is factive, if such an utterance shows its force, then it must have that force.
Searle 1969 had argued that a performative formula such as “I promise to…” is an “illocutionary force indicator” in the sense that it is a device whose role is to make explicit the force of the speaker's utterance. Making something explicit, however, would seem to involve characterizing an independent event or state of affairs, and as a result Searle's account presupposes that speakers can imbue their utterances with the force of demotions and excommunications; yet this is what was to be explained.
Recognition of the significance of speech acts has illuminated the ability of language to do other things than describe reality. In the process the boundaries among the philosophy of language, the philosophy of action, aesthetics, the philosophy of mind, political philosophy, and ethics have become less sharp. In addition, an appreciation of speech acts has helped lay bare a normative structure implicit in linguistic practice, including even that part of this practice concerned with describing reality.
Austin famously claimed that performatives are not statements (1962, p. 6). This may be taken either as the claim that performative sentences, even those in the indicative grammatical mood, lack truth value; or instead as the claim that utterances of performative sentences, even when such sentences have truth value, are not assertions. One can consistently hold that an indicative sentence has truth value, and even that it may be uttered in such a way as to say something true, while denying that its utterance is an assertion. (Testing a microphone in a windowless room, I utter, “It's raining,” and it happens to be raining outside. Here I have said something true but have made no assertion.)
Lemmon 1962 argues that performative utterances are true on the ground that they are instances of a wider class of sentences whose utterance guarantees their truth. If sound, this argument would show that performatives have truth value, but not that they are assertions. It also leaves unanswered the question why some verb phrases such as ‘I promise’ may be used performatively while others cannot be so used. Sinnott-Armstrong 1994 also argues that performatives can have truth value without addressing the question whether they are also used to make assertions. Reimer 1995 argues that while performatives have truth values, they are not also assertions. Adopting a similar strategy, Jary 2007 aims to explain how utterances of such sentences as “I order you to clean the kitchen,” can succeed in being orders. In so doing he draws on Green's 2007 analysis of showing to argue that such utterances show (rather than merely describe) the force of the speaker's utterance. Because ‘show’ is factive, if such an utterance shows its force, then it must have that force.
Searle 1969 had argued that a performative formula such as “I promise to…” is an “illocutionary force indicator” in the sense that it is a device whose role is to make explicit the force of the speaker's utterance. Making something explicit, however, would seem to involve characterizing an independent event or state of affairs, and as a result Searle's account presupposes that speakers can imbue their utterances with the force of demotions and excommunications; yet this is what was to be explained.
There is an illustration (pixelated) that demonstrates all the 25 ways of combining two 4 X 2 LEGO bricks (each with eight pegs) printed on the cover of the book and on the frontispiece that is printed on page 2 (unnumbered). The (pixelated or low resolution) illustration sets the context for two captions that are perfect anagrams of each other. The first caption (a pixelated image) is translated from a volume (“The Great Order of the Universe”) by Democritus and starts on page 17. The second caption (another pixelated image) is transcribed from the LEGO patent by Godtfred Kirk Christiansen (“My first contribution to the company – not that I’m proud of it – was when my brother Karl Georg and I lit the glue heater. Unfortunately some wood shavings caught fire – and the whole building burned to the ground.”) and starts on page 71.
(After Christian Bok)
(a novel. 2017)
The phrase (after Christian Bok) does a variety of things: It cites him as the author of an earlier work ("The Great Order of the Universe") that inspired Van Buskirk who used the words. It adds another layer of meaning to the work who cites the author - now readers can look at both and see how the two are similar or differ. It creates a history about the topic under discussion that both informs and questions. It may constrain the current author to follow similar form, discuss similar topics or alternatively it might answer the previous poem, or offer a different view or.... even lead to something entirely new. In general, it honors the spirit of poetry by saying "this poet made me think". “The Great Order of the Universe” is a response to the fiftieth anniversary of the LEGO patent. Source: Poetry (July/August 2009)
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There are 571 numbered pages and the page numbering starts on page 8 Centered within the Footer (the first 8 pages are unnumbered).
(2017-2020)
“Square Box” symbols replace (most) characters (letters) between pages 6 and 638. You may see readable words among the formatting that was stripped out. In particular you notice three (three-letter) words (“ant”) printed on page 6. The first letter of the first “ant” is capitalized and is printed 272 more times between pages 8 and 638. The first letter of the second and third “ant” is in lower case and both appear (always side by side) 46 more times. Starting on p.11 a fourth “ant” appears. Each of it’s three letters are capitalized and it appears 222 more times between p.12 and 638.
(a novel, 2015)
It’s hard to argue that word problems, or puzzles, used as they are in our schools as disposable exercises, could be lived with over time, and seen to have inexhaustible levels of meaning (as a parable in the religious sense), particularly poetic meaning about the depths of human experience. There is certainly the element of the indescribable involved in mathematical concepts, particularly those that deal with infinity, or with entities that exist perhaps only as mental images. Although word problems do reflect historical situations of their authors, is it stretching the metaphor to claim that word problems mediate the ultimate reaches of the reality of man? That they involve eschatological crisis, or that they express the drama between human beings and God?
a Fake Vincent Van Gogh (1853-90) landscape is located on p.168 and 169 as a double-page spread. The Margin of the gutter divides the Image in two. The dimensions of the image on p.168 are 1042 X 1024 pixels and the image on p.169 is 1005 X 1024 pixels. The two images are printed in Black and White.
(biography of Vincent Van Gogh, 2015)
Debates have arisen as to whether all biographies are fiction, especially when authors are writing about figures from the past.
All history is seen through a perspective that is the product of our contemporary society and as a result biographical truths are constantly shifting. So the history biographers write about will not be the way that it happened. It will be the way they remembered it. Debates have also arisen concerning the importance of space in life writing.
On the other hand, the Art Newspaper named eighteen “Van Goghs” in public collections that had been downgraded as fakes or are works of questionable authenticity. Most of them were taken off display, including pictures in the Van Gogh Museum, the Kröller-Müller Museum, the Detroit Institute of Arts and the Nationalmuseum in Stockholm. Art scholars and expert historians alike constantly challenge and raise issues about van Gogh’s oeuvre and presumably will continue to do so. The margin space on the page between the binding and the inside edge illustration or any printed element is called the gutter. At some time you unquestionably experienced an insufficient gutter. You open a book to find that the text's inside edge is partially obscured by the tight binding. You force the book to open wider and ultimately break its binding. Printing and binding technology has become highly precise, but some variance is inevitable. This book shows the image of the painting divided in two by means of a generous gutter.
Note: the painting in the book is printed in black and white. The Lulu preview shows the painting in color.
All history is seen through a perspective that is the product of our contemporary society and as a result biographical truths are constantly shifting. So the history biographers write about will not be the way that it happened. It will be the way they remembered it. Debates have also arisen concerning the importance of space in life writing.
On the other hand, the Art Newspaper named eighteen “Van Goghs” in public collections that had been downgraded as fakes or are works of questionable authenticity. Most of them were taken off display, including pictures in the Van Gogh Museum, the Kröller-Müller Museum, the Detroit Institute of Arts and the Nationalmuseum in Stockholm. Art scholars and expert historians alike constantly challenge and raise issues about van Gogh’s oeuvre and presumably will continue to do so. The margin space on the page between the binding and the inside edge illustration or any printed element is called the gutter. At some time you unquestionably experienced an insufficient gutter. You open a book to find that the text's inside edge is partially obscured by the tight binding. You force the book to open wider and ultimately break its binding. Printing and binding technology has become highly precise, but some variance is inevitable. This book shows the image of the painting divided in two by means of a generous gutter.
Note: the painting in the book is printed in black and white. The Lulu preview shows the painting in color.
A birth date, first name, activity and place is determined for each character. Each clue is printed on one page (pages 203 through 215). The birth dates are listed on p.57, the first names on p.463, the activities on p.567, and the places on p.654.
(a novel, 2015)
The novel is essentially constructed of two parts; the categories and the clues. It is a mystery regarding four characters in the form of a logic grid puzzle. In each puzzle you are given a series of categories, and an equal number of options within each category. Each option is used once and only once. Each puzzle has only one unique solution, and each can be solved using simple logical processes (i.e. educated guesses are not required). The Logic Grid Puzzle is popular among puzzle enthusiasts and available in magazines dedicated to the subject. It is a format in which the set-up to a scenario is given, as well as the object (for example, determine who brought what dog to a dog show, and what breed each dog was), certain clues are given ("neither Misty nor Rex is the German Shepherd"), and then the reader fills out a matrix with the clues and attempts to deduce the solution.
The sentence printed at the top of p.14 is Duplicated in the middle of p.168 and bottom of p.544 within the Context of a 234,348 word text (see p.6 through 609 excluding the Three pages mentioned above). On p.544 the sentence Bleeds onto p.545.
(a novel, 2015)
The Indiscerniblity of Identicals is the principle that if two objects are absolutely identical then they must be indistinguishable from one another with respect to all of their properties. But does that include the context of the identical objects? The notion of identical gives rise to many philosophical problems, including: 1. What does it mean for an object to be the same as itself? 2. If x and y are identical (are the same thing), must they always be identical? Are they necessarily identical? 3. What does it mean for an object to be the same, if it changes over time? (Is applet the same as applet+1?) 4. If an object's parts are entirely replaced over time, in what way is it the same?
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