This critical/creative work responds to a call from Krauth and Watkins for a more radical form of the scholarly paper. Its hybrid form presents poems written in response to events at the second Poetry on the Move festival at the University of Canberra in 2016. Key ideas about the intersections between poetry and knowledge from David McCooey and William Carlos Williams are considered together with readings and discussions by poets Tusiata Avia and Simon Armitage. The article charts writing experiences, tracking the drafts and the editing process for ways in which my festival-inspired poems reflect on the intersections between poetry and knowledge, knowing and unknowing. Specifically, the poems concern the topics of knowing and observing the world; knowing memory and integrating the past with the present; and knowing the body. They embrace embodiment, imagination and biography, conscious of antagonisms between memory and the present. In this article, I problematise the use of the noun knowledge as opposed to the verb knowing and demonstrate that the former is unnecessarily privileged. I argue that articulating the full scope of poetry composition from inspiration to the final stages of editing demonstrates that artistic knowledge is best defined as a process of knowing. It is my contention that poets do demonstrate the knowledge of how to make things, as identified by Aristotle (1954); and also that we show 'knowing as a process of inquiry' (Johnson 2010). In doing so, we offer readers 'new ways of knowing and doing' (Webb 2012, my emphasis). At the same time, our own new work, as I demonstrate here, responds to knowledge as 'a living current' (Williams 1923), an active state characterised by the verb 'to know'.

American Christianity is facing unprecedented challenges in the twenty-first century as it is confronted with the increasing secularization of society, and attempts to respond to a post-Christendom environment. In the midst of a deteriorating presence in society, the loss of perceived value and acceptance, along with a growing general disinterest among the American population, the traditional, institutional and denominational model of church struggles to maintain a sense of place or position, while the missional church movement has emerged offering an increasingly acceptable alternative. This missional alternative prioritizes a contextual and incarnational presence in communities as an outgrowth of the missio Dei, with missional churches living as an extension of God’s missionary presence in the world, discerning, understanding, and responding to changing contexts through incarnational relationships with others, emphasizing the community life of disciples of Jesus Christ to reveal the Kingdom of God. This thesis investigates elements contributing to the changing landscape of American Christianity, as well as features common to missional churches to determine the impact of the missional movement upon Christianity in the United States, and finds that American Christianity is being redefined through the emphasis of the missio Dei and an incarnational approach to ministry where contextual focus informs form, and provides for specific and effective ministry function.

A paper exploring alternative ways to begin a second language lesson. The seven ideas for starting a lesson are based on the author's own reflective practices and are based in a student-focused philosophy of learning.

NORMATIVE STATEMENT Unquestionably, the human brain is a phenomenal ‘organic machine’, comprised of an intricate network of tens of billions of neurons dispersed in a milieu of chemical and biochemical constituents. In view of the aforementioned declaration without question, the convergence and pervasiveness of Matrix will stir up an intellectual consciousness within the psyche of 7.2 billion global citizens. Matrices such as collaborative assessment and criticism presumably may strengthen and influenced negatively/positively the populace within the mass entertainment cultural space. Moreover, it should be noted that in this space there is a school of thought which suggest that cultureinvariably plays a vital role in shaping the society and the country. As a consequence some questions have arisen, for example- why some countries have developed and others are not, why some countries are unstable and others are not, why people in some countries don’t care about their country but in others people do, why? because of the culture, culture is a collective attribute of a group, how they react, what they eat, what they perceive as good or bad, what they think is normal or not normal according to Samar Tomar. Imbued within this discourse is the tenor of the time which captures the underpinning frame by frame of global citizens’ way of life regardless of their identity which is deemed an access to every cultural space as result of their user-friendliness of iPad, iPhone, internet, and digital space, anywhere in the world Matrix! A Global Cultural Discourse Volume 1 William Anderson Gittens Author B.A., Cinematographer, Cultural Practitioner,Dip.Com. Arts, ,Media Arts Specialists’ Publisher ISBN 978-976-96313-3-5

The original poetry in this hybrid critical/creative paper seeks to find acts of making that are equivalent or complementary to those of other art forms and to construct poems which respond not just in their content but in their structures, leading to a radical € ekphrasis. € It argues that this strategy makes for invigorated writing. € The topic of € ekphrasis € finds numerous references in the literature of the last thirty years, but definitions of€ ekphrasis€ have narrowed€ since the term's use in ancient times.€ It now has a particularly close association with the visual arts.€ It was formerly widely understood as a poetic response to any other form of art (Francis 2009), with no special importance placed on the visual€ work€ of art€ (Webb€ 2009:€ 11), but rather€ with a general ability€ to make a scene vivid.€ These poetic experiments attempt to balance the modern impetus to respond€ ekphrastically € with the ancient understanding; they € react to works of graphic design, journalism,€ Indigenous painting, as well as sculpture and installations, and notional€ ekphrasis.€ These poetic experiments explore € Olson's dictum that form is never more than an extension of content (1972:€ 338)€ and€ Hejinian's€ equally important€ idea that 'form is not a fixture but an activity' (1983), and end by evaluating how the intention to find new structures has affected the content of the poetry.€ € € Keywords:€ Poetry€-€ ekphrasis€-form-€ experiment€ As poets, we look€ for new ways to expand€ the scope of our work, both in form and content, to inhabit€ new spaces€ in language. Other art forms € often€ amaze and inspire us. In my own practice, I€ find myself€ wanting€ to€ write in some€ way€ that€ matches the force or energy of other art works.€ It is€ unsatisfying to respond to another art work€ merely by producing poetic€ content which is derivative. Surely, if I am to respond € fully and € successfully, I need to allow that other work to impact € the structure of my writing, as well as its content, and I€ argue that this strategy will€ make for invigorated writing.€ It should€ have the effect of€ breaking writing habits and creating€ fresh modes of expression.€ € Since writing from € a place of otherness is a € significant dynamic of poetry, with € commentators as diverse as Anthony€ Easthope€ (1983:€ 37-38) and€ Hélène€ Cixious€ (1986:€ 84-85) asserting its importance, it is likely we are€ drawn to the visual arts as a stimulus, because of its very difference to what we do as poets. In contrast, to write € a poem in reaction to a song € is to move in similar terrain which€ already€ privileges the€ aural,€ and€ is almost the same as€ reacting to another poem. This would make€ the work less clearly€ ekphrastic, the approach€ explicitly under consideration here, and further treated by the expressed concern to achieve € a radical € ekphrasis € that affects form as well as content.€ But,€ of course, I begin with a contemporary€ perception of what constitutes€ ekphrasis.€ €

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its a beginning level book who don't know C. also I can say this is a school level book. if you wants to master in c better avoid this book. better start from 'c in depth' by srivastava as per my opinion.