[Daktoria]

And what do you suppose is the demand for being exploited?

...emotions that were summoned into existence by ancestors.

(As someone with agoraphobia, this should be easy for you to understand. You don't CHOOSE to be afraid. It's just something felt outside of your control.)

I'm not sure what hyperreality you're inhabiting, but it certainly is a problem trying to have a conversation with you when you apparently inhabit such a different reality.

Your parents must have been something special.

[Paradigm]

...emotions that were summoned into existence by ancestors.

(As someone with agoraphobia, this should be easy for you to understand. You don't CHOOSE to be afraid. It's just something felt outside of your control.)

Who said I have agoraphobia? And like most of your answers, this "ancestral fear" thesis is so absurd that I almost have to wonder if you're some Andy Kaufmanesque performance artist trying to pull one over on us all. In any case, the notion that workers want to be exploited is easily debunked by the existence of unions, and the extreme measures to which the capitalist class will turn in order to suppress them.

[Daktoria]

Who said I have agoraphobia? And like most of your answers, this "ancestral fear" thesis is so absurd that I almost have to wonder if you're some Andy Kaufmanesque performance artist trying to pull one over on us all. In any case, the notion that workers want to be exploited is easily debunked by the existence of unions, and the extreme measures to which the capitalist class will turn in order to suppress them.

(You admitted it in Gorkiy a long time ago.)

Ancestral fear is absurd? How do you think emotions come into existence? Your genes, hormones, neurology, and environment were given to you by those who created you.

Unions are a response to children being alienated. Families get torn apart by results-oriented negligence, and instead of teaching children how to infuse art into industry, parents get sadistically angry and expect children to work to prove themselves. This implies children grow up to be employed without relationships with the mode of production.

Over time, many alienated children come to work in the same industries, and they coalesce to negotiate with their employers.

Some of these employers are parents, but some of these employers are other children who endured and invested themselves, despising the work hard attitude due to its suppression of creativity.

Ergo, unions are really a two-edged sword. On one hand, they let honest children (workers) negotiate with careless parents (management).

On the other hand, unions let careless parents (workers) alienate honest children (management). Children become management over parents over time between family branches. Honest children in one branch employ careless parents in another. The reason is carelessness leads to perpetual short term consumption rather than long term investment. Ergo, the children in one branch will manage over the parents in another.

The children of careless parents need to overcome their feelings of guilt and see all management is not to be despised.

[Paradigm]

Since your jaw-droppingly bizarre psychoanalysis of unions based on parental figures is too surreal for me to continue, I'll just drop another one of these on you since they seem to speak your language more fluently.

Semiotic socialism, nihilism and Batailleist `powerful communication’

Andreas I. d’Erlette
Department of Gender Politics, Stanford University



1. Narratives of dialectic

“Society is part of the stasis of narrativity,” says Debord. The characteristic theme of Porter’s[1] essay on textual discourse is the bridge between art and class. It could be said that if neocultural narrative holds, the works of Tarantino are an example of patriarchialist nationalism.

“Culture is fundamentally a legal fiction,” says Bataille; however, according to von Junz[2] , it is not so much culture that is fundamentally a legal fiction, but rather the economy, and thus the defining characteristic, of culture. The subject is interpolated into a capitalist theory that includes reality as a totality. In a sense, Lacan uses the term ‘Lyotardist narrative’ to denote a mythopoetical whole.

The primary theme of the works of Tarantino is the difference between sexual identity and society. In Reservoir Dogs, Tarantino examines semiotic socialism; in Pulp Fiction, although, he denies capitalist theory. But Baudrillard promotes the use of presemiotic construction to attack sexism.

A number of deconceptualisms concerning the genre, and subsequent meaninglessness, of capitalist narrativity may be discovered. It could be said that the main theme of Sargeant’s[3] analysis of neocultural narrative is a self-referential totality.

Abian[4] suggests that the works of Gaiman are not postmodern. Thus, Bataille uses the term ‘capitalist theory’ to denote the role of the poet as writer.

The premise of semiotic socialism implies that sexuality is part of the stasis of truth, but only if reality is equal to truth; otherwise, art serves to entrench capitalism. In a sense, the characteristic theme of the works of Gibson is not theory, as Baudrillard would have it, but subtheory.

The paradigm, and eventually the absurdity, of capitalist theory intrinsic to Gibson’s Virtual Light is also evident in Pattern Recognition. Thus, semiotic socialism suggests that the law is intrinsically used in the service of sexism.


2. Neocultural narrative and neocultural libertarianism

If one examines semiotic socialism, one is faced with a choice: either reject constructive narrative or conclude that the significance of the reader is deconstruction. In Neuromancer, Gibson reiterates semiotic socialism; in Count Zero he denies subdialectic Marxism. But Debord suggests the use of capitalist theory to analyse sexual identity.

“Society is responsible for hierarchy,” says Foucault. The premise of the patriarchial paradigm of expression holds that language is part of the failure of narrativity, given that neocultural libertarianism is valid. Thus, if precultural theory holds, the works of Gibson are modernistic.

The primary theme of Werther’s[5] model of semiotic socialism is the stasis, and some would say the paradigm, of neocapitalist truth. Any number of desublimations concerning neocultural libertarianism exist. Therefore, the example of cultural discourse which is a central theme of Gibson’s Mona Lisa Overdrive emerges again in Neuromancer, although in a more mythopoetical sense.

If one examines capitalist theory, one is faced with a choice: either accept neocultural libertarianism or conclude that sexuality is used to marginalize the proletariat. The characteristic theme of the works of Gibson is the role of the writer as poet. It could be said that several narratives concerning a postcapitalist paradox may be found.

Sontag promotes the use of capitalist theory to challenge sexism. In a sense, the subject is contextualised into a semiotic socialism that includes truth as a whole.

Sartre uses the term ‘neocultural libertarianism’ to denote the absurdity of cultural sexual identity. It could be said that the subject is interpolated into a subsemanticist depatriarchialism that includes consciousness as a reality.

In Mona Lisa Overdrive, Gibson affirms neocultural libertarianism; in Neuromancer, however, he denies capitalist nationalism. Thus, the premise of semiotic socialism states that sexuality, paradoxically, has intrinsic meaning, but only if language is distinct from truth.

The subject is contextualised into a capitalist theory that includes sexuality as a paradox. In a sense, a number of discourses concerning neocultural libertarianism exist.

Sontag uses the term ‘precultural appropriation’ to denote the role of the reader as poet. Thus, the subject is interpolated into a neocultural libertarianism that includes truth as a whole.


3. Gibson and capitalist theory

“Class is fundamentally impossible,” says Lacan. The defining characteristic, and eventually the collapse, of neocultural libertarianism prevalent in Gibson’s Mona Lisa Overdrive is also evident in Pattern Recognition. It could be said that semioticist subtextual theory holds that discourse is a product of the masses.

Dietrich[6] implies that we have to choose between capitalist theory and neotextual nationalism. Therefore, many narratives concerning not theory, but subtheory may be discovered.

The subject is contextualised into a dialectic discourse that includes sexuality as a reality. It could be said that Lyotard uses the term ‘neocultural libertarianism’ to denote a mythopoetical whole.

The primary theme of de Selby’s[7] critique of subcapitalist theory is the role of the writer as participant. However, any number of constructions concerning neocultural libertarianism exist.


1. Porter, Q. ed. (1976) The Genre of Sexual identity: Capitalist theory and semiotic socialism. And/Or Press

2. von Junz, M. V. K. (1999) Semiotic socialism in the works of McLaren. O’Reilly & Associates

3. Sargeant, A. ed. (1972) Contexts of Rubicon: Semiotic socialism in the works of Gaiman. And/Or Press

4. Abian, E. P. I. (1993) Capitalist theory in the works of Gibson. Harvard University Press

5. Werther, W. ed. (1982) The Fatal flaw of Context: Semiotic socialism and capitalist theory. Loompanics

6. Dietrich, Z. A. C. (1979) Capitalist theory and semiotic socialism. And/Or Press

7. de Selby, S. H. ed. (1986) Deconstructing Debord: Semiotic socialism and capitalist theory. Schlangekraft

[Daktoria]

If you picked that essay on purpose, I'm not surprised.

Sexual assertiveness comes after social assertiveness. Your lack of appreciation reinforces your misunderstanding coming from bad parenting.

[Andropov]

-

[Suska]

Semiotic socialism, nihilism and Batailleist `powerful communication’

What is going on in these essays of yours Paradigm?

Oh wait... I see the word "Lacan" in there now, I will assume it's complete nonsense and move on.

[Daktoria]

As this essay illustrates, the problem is Paradigm believes I'm trying to get him to go gay.

In reality, I'm trying to show him how to get his balls back, but socialism will confuse a man.

Marxist socialism in the works of Smith

Ludwig Werther
Department of English, Massachusetts Institute of Technology

1. Marxism and cultural objectivism

“Society is impossible,” says Derrida. However, Sontag promotes the use of neocapitalist cultural theory to attack the status quo. Baudrillard’s essay on Marxist socialism implies that reality is part of the rubicon of consciousness.

In the works of Smith, a predominant concept is the concept of postconceptualist truth. Therefore, many deappropriations concerning a self-referential whole exist. The premise of cultural narrative suggests that the task of the participant is social comment.

“Society is fundamentally used in the service of outmoded perceptions of sexual identity,” says Bataille; however, according to la Tournier[1] , it is not so much society that is fundamentally used in the service of outmoded perceptions of sexual identity, but rather the futility, and eventually the failure, of society. In a sense, Derrida uses the term ‘Marxist socialism’ to denote not theory per se, but subtheory. Buxton[2] states that we have to choose between Baudrillardist simulacra and neopatriarchial dematerialism.

Therefore, Sontag suggests the use of Marxist socialism to read sexual identity. Sartre’s analysis of dialectic precultural theory suggests that the State is a legal fiction.

But the characteristic theme of the works of Smith is the common ground between society and class. Foucault promotes the use of Marxism to deconstruct class divisions.

Thus, the rubicon, and hence the defining characteristic, of the modern paradigm of reality intrinsic to Smith’s Mallrats is also evident in Clerks, although in a more mythopoetical sense. If cultural objectivism holds, we have to choose between Marxism and Baudrillardist hyperreality.

In a sense, Foucault uses the term ‘Marxist socialism’ to denote the meaninglessness of neocapitalist narrativity. A number of theories concerning material capitalism may be revealed.

But the subject is contextualised into a cultural objectivism that includes consciousness as a reality. The primary theme of Scuglia’s[3] model of Marxism is a self-supporting totality.

2. Expressions of failure

The characteristic theme of the works of Smith is not deconstruction, but postdeconstruction. Thus, the subject is interpolated into a Marxist socialism that includes narrativity as a whole. Von Ludwig[4] states that we have to choose between cultural objectivism and the capitalist paradigm of reality.

If one examines subconceptualist discourse, one is faced with a choice: either reject cultural objectivism or conclude that sexual identity, somewhat paradoxically, has intrinsic meaning, given that culture is interchangeable with language. It could be said that any number of dematerialisms concerning the absurdity, and therefore the futility, of textual class exist. The premise of postcultural dialectic theory implies that discourse comes from the masses.

The main theme of Finnis’s[5] analysis of Marxist socialism is the bridge between class and narrativity. In a sense, the characteristic theme of the works of Joyce is a mythopoetical totality. Marx suggests the use of Marxism to analyse and read class.

“Sexual identity is intrinsically elitist,” says Debord. But if subcultural discourse holds, we have to choose between Marxist socialism and the textual paradigm of consensus. The primary theme of Abian’s[6] model of postcultural narrative is not theory, as cultural objectivism suggests, but neotheory.

Therefore, Sontag promotes the use of Marxism to attack hierarchy. An abundance of discourses concerning cultural objectivism may be found.

But Marx uses the term ‘Batailleist `powerful communication” to denote the meaninglessness of capitalist society. Foucault’s analysis of Marxist socialism suggests that truth is capable of deconstruction.

It could be said that Baudrillard suggests the use of postsemantic nationalism to deconstruct class. Lyotard uses the term ‘cultural objectivism’ to denote the role of the reader as writer.

Therefore, Marxism implies that discourse is a product of the collective unconscious. Buxton[7] states that we have to choose between subconceptualist socialism and the material paradigm of reality.

However, Sontag’s critique of Marxism implies that the purpose of the poet is significant form, given that the premise of predeconstructivist textual theory is invalid. The main theme of the works of Joyce is the paradigm, and some would say the defining characteristic, of neocultural sexual identity.

3. Marxism and structuralist objectivism

In the works of Joyce, a predominant concept is the distinction between figure and ground. But the subject is contextualised into a Marxist socialism that includes art as a paradox. Bataille uses the term ‘Marxism’ to denote the role of the observer as participant.

In a sense, Baudrillard’s model of Marxist socialism holds that the Constitution is capable of truth. The primary theme of Drucker’s[8] critique of cultural Marxism is the common ground between class and sexual identity.

It could be said that Lacan promotes the use of Marxist socialism to challenge sexism. If structuralist objectivism holds, the works of Joyce are modernistic.

But Sartre uses the term ‘Marxism’ to denote not, in fact, theory, but neotheory. Sontag suggests the use of Marxist socialism to analyse and read narrativity.

4. Narratives of meaninglessness

“Class is part of the futility of sexuality,” says Bataille. However, the characteristic theme of the works of Joyce is a self-falsifying totality. The example of structuralist objectivism which is a central theme of Joyce’s A Portrait of the Artist As a Young Man emerges again in Finnegan’s Wake.

The main theme of Pickett’s[9] model of Marxism is the difference between society and truth. Thus, Tilton[10] implies that we have to choose between Marxist socialism and dialectic postdeconstructivist theory. A number of narratives concerning the role of the poet as reader exist.

If one examines structuralist objectivism, one is faced with a choice: either accept dialectic appropriation or conclude that art is fundamentally unattainable. However, if Marxist socialism holds, we have to choose between structuralist objectivism and neocapitalist dematerialism. Debord promotes the use of Marxist socialism to deconstruct archaic, elitist perceptions of class.

Thus, in A Portrait of the Artist As a Young Man, Joyce affirms Marxism; in Finnegan’s Wake, however, he reiterates Marxist socialism. Dialectic discourse suggests that the task of the artist is deconstruction.

It could be said that the characteristic theme of the works of Joyce is the common ground between culture and sexual identity. The subject is interpolated into a Marxist socialism that includes truth as a reality.

Thus, Foucault suggests the use of structuralist objectivism to modify class. The main theme of Cameron’s[11] critique of Marxism is a cultural paradox.

But several discourses concerning structuralist objectivism may be discovered. The premise of Marxism states that context must come from the masses, but only if consciousness is equal to reality.

5. Joyce and Marxist socialism

“Culture is responsible for class divisions,” says Sontag. In a sense, Reicher[12] suggests that the works of Joyce are reminiscent of Burroughs. Foucault uses the term ‘structuralist objectivism’ to denote not discourse, but prediscourse.

It could be said that in Ulysses, Joyce analyses Marxism; in Finnegan’s Wake he reiterates structuralist objectivism. The subject is contextualised into a Lyotardist narrative that includes reality as a totality.

However, any number of materialisms concerning the futility, and eventually the failure, of patriarchial class exist. Sontag promotes the use of structuralist objectivism to challenge the status quo.

In a sense, if Marxism holds, we have to choose between Marxist socialism and postdeconstructivist theory. Baudrillard suggests the use of structuralist objectivism to analyse and modify sexual identity.

1. la Tournier, G. C. ed. (1990) Narratives of Economy: Marxist socialism and Marxism. Oxford University Press

2. Buxton, Q. B. C. (1975) Marxism and Marxist socialism. University of California Press

3. Scuglia, R. ed. (1994) The Circular Sea: Marxist socialism and Marxism. Loompanics

4. von Ludwig, F. Q. (1986) Marxist socialism in the works of Joyce. University of Georgia Press

5. Finnis, Y. D. V. ed. (1998) The Absurdity of Sexual identity: Marxism and Marxist socialism. Panic Button Books

6. Abian, U. F. (1981) Marxism in the works of Mapplethorpe. University of Oregon Press

7. Buxton, O. ed. (1993) The Narrative of Defining characteristic: Marxist socialism and Marxism. And/Or Press

8. Drucker, D. J. I. (1970) Objectivism, the subcapitalist paradigm of discourse and Marxism. Panic Button Books

9. Pickett, Q. Y. ed. (1982) Expressions of Stasis: Marxism and Marxist socialism. O’Reilly & Associates

10. Tilton, Q. (1970) Marxism, objectivism and the subcapitalist paradigm of consensus. University of Michigan Press

11. Cameron, B. E. Y. ed. (1989) Postdeconstructive Desituationisms: Marxist socialism and Marxism. Loompanics

12. Reicher, G. N. (1998) Marxism and Marxist socialism. O’Reilly & Associates

[Suska]

I'm sorry Dak, once my Lacan-Alert has gone off my receptors are closed. Besides I was already alerted by Baudrillard and Focault alerts. There is nothing here but a word salad. It's like that Nirvana song, "A mulatto. An albino. A mosquito. My libido.." Anything you translate that into is purely imagination running wild over an ink blot.

[Alexander]

Don't worry, Suska. It's from the Postmodernism Generator. It's meant to be a word salad.

[Paradigm]

Don't worry, Suska. It's from the Postmodernism Generator. It's meant to be a word salad.

And yet Dak is the only guy who actually tries to engage the text.

Hey Dak, why don't you click on the link again and then try to argue against whatever point I'm making with the randomly generated text? You can do this all day, and we can sit back and watch you argue with the voices in your head.

[Daktoria]

I'll take that as a surrender.

It's a shame, Paradigm, when you can't make your own arguments and have to rely on your opponent making them for you.

Tell me, were you this spoiled as a kid? Did Mommy and Daddy excuse you from thinking for yourself as well?

As a lib-soc, I'd expect you to at least not take refuge in newspeak.

[Paradigm]

I'll refer you to my response here.

[Donna]

Dak has been duly humiliated here.

Well played, Paradigm.