as written – Page 3

Language adjuncts. Crutches for smaller thoughts. Add this. Pad that.
stuffers and fillers for your ‘own’ meanderings. when your ideas are flat , you have to stuff them… aka, Word-Flab. thought fillers.

A new hyphenate; an invisible hyphen has grown from the script writers. “My” has become “my own,” rather my-own” The hyphen is invisible, unsaid.

The compound possessive .. double possessive .. reiterated possessive form of elongated gated speech .. shortcoded: brotAlk.

drama not information ;a table thump . a diversion like a sigh .

“my own” is so common [2025] there shouln’t be a space ‘tween ’em. Like this : myown OR possibly my’wn, m’own … Try ’em out.

“my own…” is a form of shadow brag. And, it’s like, well, you know, kinda sorta a format for crutched concepts. See?

if the meaning stands without it, what does it mean? Found among the casual [still currently points at TypePad] {redund}

the rise of the 'own' word.
A bumper crop of bumper words .
Words between . in attempt to clarify your inclusion. your noun.
The obsessive possessive  case
padding, stuff9ng the sentence. upping the word count

salesman sidetone .  canter banter filling empty conversation with empty headed phrases

desperate individuality .. an example of the origin, long form of OWN useage : ...'add to it with my own.' o w n period.

” for your own good..” said as run-on : your-own ..
top: add to her own dog pack
easy example of redundancy slop: ‘.. Do you make your own prints yourself.. ‘
redundancy is automatic: ..’share my own experience and advice..’ strike the ~~own~~
almost every webshop: “MAKE YOUR OWN CUSTOM” alt: make a // ‘you’ to the point.
‘ have to own their own computer’ …AI bites self
..’developed its own algorithm that..’ [ padded phrases; 2025’s kinda sorta hmm ya’know phase]
..’ parse their own XML..’ [spills into IRS source code ..] 2025
..’describes her own approach.. ‘ [ bookform inflates the phrase ]
…’ then me own dad..’ [british pop tv character. low brow ]
On the other hand: …’ dead at own address..’
‘tried making my own pinhole’ — alt: tried making a pinhole
‘in his own right’
…’ described my own thought process..’ [chatgp3 .. he has been trained by you to pad his answer ]
‘… void in my own limited reference materials regarding her own specific techniques…’ [person prone to exaggeration, and re-use of tales]
..’My own view..’ [educated debate… try without the ‘own’ did you lose meaning]
..’ your own good ..’ [cartoon movie ] alt: not for my good … weep, but your [redundant] o w n good.. cue drama light
..’ its own museums and the..’ [what other word ? “its museums” seems complete. maybe ‘own’ is clearer than “its other museums” What is the opposite of o w n ? [ oct,25]
..’through his own gallery’ [is it clearer]
..’oedipus would kill his own father ..’ [ drama amplification ]salt in the script.
..’my own DSLR..’ [australian: not a stolen, rented,borrowed camera]
..’my own survey of’ [stike own; what is lost]
..’insecure about their own standing’ [read withou o w n — what happens?]
… in review: ‘and her own personal story’
.. ‘living his own life..’ British TV script. adds/ emphasizes ? separation & … ‘ your own endeavors ..’
…’retelling their own story in a way that…’ [british literary pub]
… ‘save my own job,’
…’ popular in his own lifetime…’ [britain bookseller]
… anger news : ‘in her own bedroom’
… ‘my own flesh and blood’
[ britishit — ‘her own daughter’ — putting on posh ]
…’sending his own soldiers out’ [ not really his]
… ‘he fed Alpo to his own dogs’ ad sincerity
… ‘my own dear dog’ — makes dear bigger? [comparative-superlative]
..’ shoot her own husband..’ [ her ? husband ] dramatic clarity from brit TV
..’ with my own.. ‘ [instead of mine ]
.. ‘my own digital light sources’ — owner built
..’brew my own ..’ [instead of mine ]
… ‘into their own pockets ‘
..’ provide your own card ”
.. ‘on its own mission and a clear violation of its own honor ‘ [ religion site ]
…”our own packaging and final finishing for our film…” [packaging vs film ]
..’ finding our own voices in a world’ [children’s book
..’ his own, not his character voice’
..’AI is writing its own blog’ –[
… ‘making my own’ — not for sale / use of others
.. ‘attend his own graduation.’
… ‘my own behalf’
…’ his own century..’ [philosopher]
…’Trump’s own deep skepticism’
..’ took his own life ‘ [ news ]
… ‘look at them with my own eyes’ [double vision in words]power padding
… ‘his own website ‘[ the social puss]
… ‘their own expertise ‘
… ‘building my own…’ [clarity; ]
…’ his own killer …’ british fast food crime show… emphasis without effort
..’my own understanding..’ alt: my VERY understanding ..
… ‘Trump’s own attendance’
..’ your own Eigen setup’
OpenAI’s own web-search ‘ [what does o.w.n clarify]
..’ RAH hisownself doing ‘ [ as oneword .. off grok etymology
..’include their own plot digitizer features. ..’ [AI gemini has learned to over-verbalize ] ED: include digitizer features.. to a point. 11,15 ’25

ALT:… textiles she created herself.

ALT.. EMPHASIS FORM …’ spent too much time actually making photographs

ALT — another flavor: universities themselves to put up a more muscular response. The faculty

ALT– emphasising DIY ‘ness

— judge and Vietnam veteran himself

— Michael Milken himself made a speech

— claimed it as their own

— ‘his only daughter’

Even the blurbs overflow: “… Other Reasons Why I Write opens a window on Messud’s own life: a peripatetic upbringing; a warm, complicated family; and, throughout it all, her devotion to art and literature….”

Collections arrive without a name.

We don’t read a word after it becomes a weed. How many times do you see ‘THE’

otiose: used to describe a word or phrase, or sometimes an idea, that is unnecessary or has been used several times:

books from the theory shelf. Would be considered as starting places in a course approaching the image making process. These are theory texts. Use these to build out a vocabulary. Build that vocabulary into your dictionary of ideas and image prompts.

— Barthes, Image-Music-Text. “consists of thirteen essays published by Roland Barthes between 1961 and 1973. As a whole, the pieces track Barthes’ movement from an influential early theorist of semiotic analysis and structuralism to his emergence as a major poststructuralist thinker. Sometimes, indeed, one essay will challenge, revise, and correct the preceding essay: having offered an “Introduction to the Structural Analysis of Narrative” (1966), the next essay, “The Struggle with the Angel” (1971), asserts that it is attempting “textual analysis,” not structural analysis. Stylistically, the essays include methodically analytical essays laden with highly specialized terminology (like “Structural Analysis”), ” see this

— Barthes, Camera Lucida. This title served as prompt for me to pull out this list of texts. “The book investigates the effects of photography on the spectator (as distinct from the photographer, and also from the object photographed, which Barthes calls the “spectrum”).”

— Bolton, The Contest of Meaning. The Contest of Meaning summarizes the challenges to traditional photographic history that have developed in the last decade out of a consciously political critique of photographic production. Contributions by a wide range of important Americans critics reexamine the complex—and often contradictory—roles of photography within society. Douglas Crimp, Christopher Phillips, Benjamin Buchloh, and Abigail Solomon Godeau examine the gradually developed exclusivity of art photography and describe the politics of canon formation throughout modernism. Catherine Lord, Deborah Bright, Sally Stein, and Jan Zita Grover examine the ways in which the female is configured as a subject, and explain how sexual difference is constructed across various registers of photographic representation. Carol Squiers, Esther Parada, and Richard Bolton clarify the ways in which photography serves as a form of mass communication, demonstrating in particular how photographic production is affected by the interests of the powerful patrons of communications. The three concluding essays, by Rosalind Krauss, Martha Rosler, and Allan Sekula, critically examine the concept of photographic truth by exploring the intentions informing various uses of “objective” images within society. from publisher

— Burgin, Thinking Photography “The essays presented in this collection contribute to the[ THEN , 1982] emerging theory of photography, aiming to establish a materialist analysis that transcends traditional criticisms. They explore the significance of photography as a practice of signification within specific social contexts, advocating for an interdisciplinary approach that acknowledges the complex relationships between representation and the represented. Key discussions include the distinction between photography theory and criticism, sociological dimensions of photographic institutions, and the importance of meaning production in understanding photography’s role in society.

— Campany, The Cinematic, “The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel’s Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism.”

— Cotton, The Photograph as Contemporary Art, “Arranged thematically, the book reproduces work from a vast span of photographers”

— Sontag, On Photography, “In On Photography, Sontag examines the history and contemporary role of photography in society. She contrasts the work of Diane Arbus with Depression-era documentary photography and explores the evolution of American photography from Walt Whitman‘s idealistic notions to the cynicism of the 1970s.”

— Trachtenberg, Classic Essays on Photography, 1980, “Containing 30 essays that embody the history of photography, this collection includes contributions from Niepce, Daguerre, Fox, Talbot, Poe, Emerson, Hine, Stieglitz, and Weston, among others.” Alan Trachtenberg was Neil Gray, Jr., Professor Emeritus of English and American Studies at Yale University.

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Category: as written

Own Up. w0rd stuff

Some References: Theory

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