On False Tears and Outsourcing is a project began by Cally Spooner in 2015. The starting point is Gustave Flaubert’s 1856 novel Madame Bovary, in which Emma Bovary’s lover, Rodolphe, signs his breakup letter to her with a false tear—a drop of water from his drinking glass. Spooner’s project expands on Rodolphe’s construction, to consider a broad definition of outsourcing; as the moment our utterance is delegated to a protocol, engineered outside of our body, typically to generate efficiency in the management of the speaker, and their affairs. The project has thus far taken a variety of forms; a Stanislavski course, for financiers to train in the production of tears, a pop music ‘factory’ where affect is emailed and remotely stitched into hit songs, and a self-organized team of dancers who must, throughout a working day, and over the course of an exhibition, carry-out the contradictory choreographic instruction to remain intimately bound yet violently separate. Spooner is also starting to write a novel, of the same title, which considers how the body might become disobedient—sick, stressed, and accidentally unruly—whilst the language it utters remains as controlled as a false tear, and as separated as an outsourced production. The novel follows the demise of a feeble hero named Aldo, a magazine critic of very minor fame, as well as those close to Aldo are, in some way, managing him: his bad-tempered editor, his many doctors (some more qualified than others), his sad, lost wife, and a modern-day Oracle. To make Peep-Hole-Sheet Spooner placed a selection of her notes for the novel into a map of potential starts, plots, snippets of dialogue between possible characters, distributed across a continuous page. The notes shift between fiction, fact, appropriation, and interviews with clinical psychiatrists, neurologists, and an actor.