Realism in the works of Stone
Martin H. D. la Tournier
Department of Sociolinguistics, University of Illinois
David L. la Fournier
Department of Future Studies, Harvard University
1. Consensuses of defining characteristic
The characteristic theme of the works of Stone is a mythopoetical whole. Sontag promotes the use of structural discourse to attack hierarchy. It could be said that Lyotard uses the term 'subdialectic cultural theory' to denote the common ground between class and sexual identity.
"Class is impossible," says Marx. The primary theme of Pickett's[1] analysis of realism is not theory, as Baudrillardist simulation suggests, but posttheory. Thus, if structural discourse holds, we have to choose between subcapitalist rationalism and cultural discourse.
In the works of Stone, a predominant concept is the concept of predialectic language. Bataille suggests the use of realism to deconstruct and modify art. In a sense, Long[2] states that we have to choose between structural discourse and postsemantic theory.
Any number of discourses concerning a self-fulfilling reality may be revealed. Thus, Debord uses the term 'realism' to denote the role of the artist as writer.
The main theme of the works of Stone is not, in fact, theory, but pretheory. But if subdialectic cultural theory holds, we have to choose between realism and dialectic subtextual theory.
Sartre uses the term 'dialectic desublimation' to denote the bridge between sexual identity and class. Thus, the subject is interpolated into a structural discourse that includes language as a paradox.
The characteristic theme of Hanfkopf's[3] critique of realism is the failure, and some would say the meaninglessness, of subconceptual sexual identity. However, Baudrillard promotes the use of structural discourse to challenge elitist perceptions of society.
2. Subdialectic cultural theory and capitalist Marxism
If one examines realism, one is faced with a choice: either reject the postmaterial paradigm of narrative or conclude that discourse comes from the collective unconscious. Finnis[4] implies that the works of Stone are an example of mythopoetical capitalism. It could be said that if realism holds, we have to choose between the textual paradigm of context and postdialectic deappropriation.
"Sexual identity is intrinsically elitist," says Debord. Derrida uses the term 'capitalist Marxism' to denote the difference between class and society. But d'Erlette[5] suggests that we have to choose between subdialectic cultural theory and textual materialism.
Sartre suggests the use of capitalist Marxism to deconstruct reality. In a sense, many discourses concerning subdialectic cultural theory exist.
Sontag promotes the use of capitalist Marxism to challenge class divisions. Therefore, the example of preconceptualist feminism prevalent in Stone's Heaven and Earth emerges again in Platoon.
Subdialectic cultural theory implies that class has objective value. Thus, Sartre suggests the use of textual neostructural theory to modify and read sexual identity.
3. Discourses of absurdity
In the works of Stone, a predominant concept is the distinction between feminine and masculine. The subject is contextualised into a capitalist Marxism that includes consciousness as a reality. But in Heaven and Earth, Stone deconstructs capitalist objectivism; in Platoon he examines realism.
If one examines subdialectic cultural theory, one is faced with a choice: either accept the subdialectic paradigm of expression or conclude that the media is capable of significance. Foucault uses the term 'realism' to denote not narrative as such, but neonarrative. It could be said that if capitalist Marxism holds, we have to choose between subdialectic cultural theory and cultural dematerialism.
Von Junz[6] holds that the works of Stone are not postmodern. Thus, the main theme of the works of Gibson is the role of the artist as participant.
Debord uses the term 'capitalist Marxism' to denote a postsemantic paradox. In a sense, if realism holds, we have to choose between capitalist Marxism and Baudrillardist hyperreality. Debord promotes the use of realism to deconstruct the status quo. However, the premise of capitalist Marxism suggests that consensus is created by the masses, but only if culture is equal to reality; otherwise, Sontag's model of subdialectic cultural theory is one of "materialist capitalism", and therefore part of the collapse of narrativity.
Any number of discourses concerning the role of the writer as participant may be found. Thus, Prinn[7] holds that we have to choose between capitalist Marxism and subcapitalist cultural theory.
4. Realism and Marxist class
"Class is fundamentally impossible," says Debord; however, according to Geoffrey[8] , it is not so much class that is fundamentally impossible, but rather the fatal flaw, and thus the stasis, of class. Foucault suggests the use of subdialectic cultural theory to modify sexual identity. In a sense, Debord uses the term 'Baudrillardist simulacra' to denote a mythopoetical reality.
If one examines realism, one is faced with a choice: either reject Marxist class or conclude that consciousness is used to marginalize the proletariat. A number of dematerialisms concerning realism exist. It could be said that Sontag promotes the use of Marxist class to challenge hierarchy.
Several appropriations concerning the collapse of semanticist truth may be discovered. However, the masculine/feminine distinction intrinsic to Gibson's All Tomorrow's Parties is also evident in Idoru, although in a more postdialectic sense.
The subject is interpolated into a realism that includes sexuality as a whole. But Lyotard uses the term 'subdialectic cultural theory' to denote a mythopoetical reality.
The characteristic theme of Prinn's[9] analysis of subcapitalist desituationism is not theory, but pretheory. It could be said that in Neuromancer, Gibson deconstructs realism; in All Tomorrow's Parties, however, he analyses subdialectic cultural theory.
5. Realities of rubicon
The main theme of the works of Gibson is the paradigm, and eventually the collapse, of patriarchial sexual identity. Baudrillard's model of Marxist class implies that truth is capable of social comment, given that realism is invalid. In a sense, the characteristic theme of Cameron's[10] critique of capitalist deappropriation is not sublimation, but presublimation.
"Truth is part of the paradigm of culture," says Sontag; however, according to von Junz[11] , it is not so much truth that is part of the paradigm of culture, but rather the absurdity, and therefore the failure, of truth. The premise of subdialectic cultural theory suggests that language serves to reinforce sexism. But the example of Marxist class which is a central theme of Gibson's Mona Lisa Overdrive emerges again in Neuromancer.
The primary theme of the works of Gibson is the role of the writer as observer. Marx suggests the use of realism to attack and modify class. Thus, any number of discourses concerning Marxist class exist.
The subject is contextualised into a subdialectic cultural theory that includes narrativity as a paradox. But Debord uses the term 'material desituationism' to denote not, in fact, discourse, but subdiscourse.
The main theme of Werther's[12] essay on subdialectic cultural theory is the role of the reader as poet. It could be said that if realism holds, the works of Gibson are reminiscent of Koons. An abundance of narratives concerning not discourse, as subdialectic cultural theory suggests, but prediscourse may be revealed. Thus, the characteristic theme of the works of Gibson is a self-sufficient whole.
The within/without distinction prevalent in Gibson's All Tomorrow's Parties is also evident in Virtual Light, although in a more mythopoetical sense. It could be said that the primary theme of Tilton's[13] model of Foucaultist power relations is the stasis, and subsequent fatal flaw, of dialectic reality.
Baudrillard promotes the use of Marxist class to deconstruct the status quo. In a sense, Lacan's analysis of realism holds that the raison d'etre of the writer is deconstruction, but only if culture is distinct from language; if that is not the case, the collective is intrinsically a legal fiction.
6. Pynchon and subdialectic cultural theory
In the works of Pynchon, a predominant concept is the concept of subdeconstructivist reality. The subject is interpolated into a Marxist class that includes consciousness as a totality. However, any number of theories concerning subdialectic cultural theory exist.
"Class is elitist," says Sartre. The main theme of the works of Pynchon is the bridge between society and reality. Thus, the subject is contextualised into a Marxist class that includes art as a paradox.
In the works of Pynchon, a predominant concept is the distinction between feminine and masculine. Derrida suggests the use of realism to analyse sexual identity. Therefore, Dahmus[14] states that we have to choose between subdialectic cultural theory and semiotic neocapitalist theory.
The premise of cultural discourse holds that narrativity, somewhat paradoxically, has significance. However, the characteristic theme of la Tournier's[15] critique of subdialectic cultural theory is a self-fulfilling whole.
Realism implies that sexuality is capable of truth. In a sense, the main theme of the works of Rushdie is the role of the poet as reader. If subdialectic cultural theory holds, we have to choose between Marxist class and posttextual objectivism. Therefore, Debord promotes the use of subdialectic cultural theory to attack outmoded, colonialist perceptions of society.
An abundance of narratives concerning a mythopoetical paradox may be found. In a sense, Sontag's model of realism states that the goal of the artist is social comment, but only if the premise of Lyotardist narrative is valid; otherwise, we can assume that the establishment is capable of intent.
D'Erlette[16] implies that we have to choose between Marxist class and the substructuralist paradigm of context. But Derrida suggests the use of realism to modify and analyse art.
7. Expressions of dialectic
"Class is fundamentally responsible for class divisions," says Debord. If subdialectic cultural theory holds, we have to choose between cultural feminism and the precapitalist paradigm of narrative. Thus, Sontag promotes the use of subdialectic cultural theory to deconstruct capitalism.
In the works of Rushdie, a predominant concept is the concept of patriarchial reality. Debord's critique of Marxist class suggests that reality must come from communication, given that sexuality is interchangeable with reality. It could be said that the primary theme of Hanfkopf's[17] model of subdialectic cultural theory is the futility, and some would say the paradigm, of neoconceptualist class.
Sontag suggests the use of dialectic sublimation to read culture. Therefore, Wilson[18] states that we have to choose between realism and neodeconstructive narrative.
The subject is interpolated into a subdialectic cultural theory that includes consciousness as a totality. But several deappropriations concerning realism exist. Baudrillard promotes the use of Marxist class to challenge sexism. It could be said that the subject is contextualised into a subdialectic cultural theory that includes language as a paradox.
The characteristic theme of the works of Tarantino is the common ground between sexual identity and culture. However, Bataille suggests the use of realism to modify and read society.
1. Pickett, R. K. L. (1977) Realities of Absurdity: Realism in the works of Mapplethorpe. And/Or Press
2. Long, S. ed. (1981) Realism, capitalism and the textual paradigm of expression. Panic Button Books
3. Hanfkopf, V. D. (1978) Reading Bataille: Subdialectic cultural theory and realism. Schlangekraft
4. Finnis, Q. ed. (1996) Realism and subdialectic cultural theory. Panic Button Books
5. d'Erlette, C. S. (1984) The Stasis of Sexual identity: Subdialectic cultural theory and realism. And/Or Press
6. von Junz, R. F. C. ed. (1973) Realism in the works of Gibson. Schlangekraft
7. Prinn, K. (1998) The Burning Sky: Realism in the works of Rushdie. Panic Button Books
8. Geoffrey, F. Y. P. ed. (1985) Realism and subdialectic cultural theory. Schlangekraft
9. Prinn, O. I. (1990) The Context of Stasis: Subdialectic cultural theory and realism. Panic Button Books
10. Cameron, V. ed. (1983) The substructuralist paradigm of discourse, capitalism and realism. University of Georgia Press
11. von Junz, O. J. (1978) The Iron Key: Realism and subdialectic cultural theory. Schlangekraft
12. Werther, I. C. S. ed. (1993) Posttextual Marxism, realism and capitalism. Panic Button Books
13. Tilton, U. (1980) The Meaninglessness of Sexual identity: Realism in the works of Pynchon. And/Or Press
14. Dahmus, T. L. ed. (1996) Subdialectic cultural theory in the works of Stone. O'Reilly & Associates
15. la Tournier, U. (1972) Deconstructing Expressionism: Realism in the works of Rushdie. Schlangekraft
16. d'Erlette, E. J. S. ed. (1996) Subdialectic cultural theory and realism. O'Reilly & Associates
17. Hanfkopf, T. (1987) The Stasis of Sexual identity: Realism in the works of Tarantino. And/Or Press
18. Wilson, F. J. K. ed. (1972) Realism and subdialectic cultural theory. Oxford University Press
The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator. To generate another essay, follow this link. If you like this particular essay and would like to return to it, follow this link for a bookmarkable page.
The Postmodernism Generator was written by Andrew C. Bulhak using the Dada Engine, a system for generating random text from recursive grammars, and modified very slightly by Josh Larios (this version, anyway. There are others out there).
This installation of the Generator has delivered 1624923 essays since 25/Feb/2000 18:43:09 PST, when it became operational. It is being served from a machine in Seattle, Washington, USA.
More detailed technical information may be found in Monash University Department of Computer Science Technical Report 96/264: "On the Simulation of Postmodernism and Mental Debility Using Recursive Transition Networks". An on-line copy is available from Monash University.
More generated texts are linked to from the Communications From Elsewhere front page.
If you enjoy this, you might also enjoy reading about the Social Text Affair, where NYU Physics Professor Alan Sokal's brilliant(ly meaningless) hoax article was accepted by a cultural criticism publication.
Department of Sociolinguistics, University of Illinois
David L. la Fournier
Department of Future Studies, Harvard University
1. Consensuses of defining characteristic
The characteristic theme of the works of Stone is a mythopoetical whole. Sontag promotes the use of structural discourse to attack hierarchy. It could be said that Lyotard uses the term 'subdialectic cultural theory' to denote the common ground between class and sexual identity.
"Class is impossible," says Marx. The primary theme of Pickett's[1] analysis of realism is not theory, as Baudrillardist simulation suggests, but posttheory. Thus, if structural discourse holds, we have to choose between subcapitalist rationalism and cultural discourse.
In the works of Stone, a predominant concept is the concept of predialectic language. Bataille suggests the use of realism to deconstruct and modify art. In a sense, Long[2] states that we have to choose between structural discourse and postsemantic theory.
Any number of discourses concerning a self-fulfilling reality may be revealed. Thus, Debord uses the term 'realism' to denote the role of the artist as writer.
The main theme of the works of Stone is not, in fact, theory, but pretheory. But if subdialectic cultural theory holds, we have to choose between realism and dialectic subtextual theory.
Sartre uses the term 'dialectic desublimation' to denote the bridge between sexual identity and class. Thus, the subject is interpolated into a structural discourse that includes language as a paradox.
The characteristic theme of Hanfkopf's[3] critique of realism is the failure, and some would say the meaninglessness, of subconceptual sexual identity. However, Baudrillard promotes the use of structural discourse to challenge elitist perceptions of society.
2. Subdialectic cultural theory and capitalist Marxism
If one examines realism, one is faced with a choice: either reject the postmaterial paradigm of narrative or conclude that discourse comes from the collective unconscious. Finnis[4] implies that the works of Stone are an example of mythopoetical capitalism. It could be said that if realism holds, we have to choose between the textual paradigm of context and postdialectic deappropriation.
"Sexual identity is intrinsically elitist," says Debord. Derrida uses the term 'capitalist Marxism' to denote the difference between class and society. But d'Erlette[5] suggests that we have to choose between subdialectic cultural theory and textual materialism.
Sartre suggests the use of capitalist Marxism to deconstruct reality. In a sense, many discourses concerning subdialectic cultural theory exist.
Sontag promotes the use of capitalist Marxism to challenge class divisions. Therefore, the example of preconceptualist feminism prevalent in Stone's Heaven and Earth emerges again in Platoon.
Subdialectic cultural theory implies that class has objective value. Thus, Sartre suggests the use of textual neostructural theory to modify and read sexual identity.
3. Discourses of absurdity
In the works of Stone, a predominant concept is the distinction between feminine and masculine. The subject is contextualised into a capitalist Marxism that includes consciousness as a reality. But in Heaven and Earth, Stone deconstructs capitalist objectivism; in Platoon he examines realism.
If one examines subdialectic cultural theory, one is faced with a choice: either accept the subdialectic paradigm of expression or conclude that the media is capable of significance. Foucault uses the term 'realism' to denote not narrative as such, but neonarrative. It could be said that if capitalist Marxism holds, we have to choose between subdialectic cultural theory and cultural dematerialism.
Von Junz[6] holds that the works of Stone are not postmodern. Thus, the main theme of the works of Gibson is the role of the artist as participant.
Debord uses the term 'capitalist Marxism' to denote a postsemantic paradox. In a sense, if realism holds, we have to choose between capitalist Marxism and Baudrillardist hyperreality. Debord promotes the use of realism to deconstruct the status quo. However, the premise of capitalist Marxism suggests that consensus is created by the masses, but only if culture is equal to reality; otherwise, Sontag's model of subdialectic cultural theory is one of "materialist capitalism", and therefore part of the collapse of narrativity.
Any number of discourses concerning the role of the writer as participant may be found. Thus, Prinn[7] holds that we have to choose between capitalist Marxism and subcapitalist cultural theory.
4. Realism and Marxist class
"Class is fundamentally impossible," says Debord; however, according to Geoffrey[8] , it is not so much class that is fundamentally impossible, but rather the fatal flaw, and thus the stasis, of class. Foucault suggests the use of subdialectic cultural theory to modify sexual identity. In a sense, Debord uses the term 'Baudrillardist simulacra' to denote a mythopoetical reality.
If one examines realism, one is faced with a choice: either reject Marxist class or conclude that consciousness is used to marginalize the proletariat. A number of dematerialisms concerning realism exist. It could be said that Sontag promotes the use of Marxist class to challenge hierarchy.
Several appropriations concerning the collapse of semanticist truth may be discovered. However, the masculine/feminine distinction intrinsic to Gibson's All Tomorrow's Parties is also evident in Idoru, although in a more postdialectic sense.
The subject is interpolated into a realism that includes sexuality as a whole. But Lyotard uses the term 'subdialectic cultural theory' to denote a mythopoetical reality.
The characteristic theme of Prinn's[9] analysis of subcapitalist desituationism is not theory, but pretheory. It could be said that in Neuromancer, Gibson deconstructs realism; in All Tomorrow's Parties, however, he analyses subdialectic cultural theory.
5. Realities of rubicon
The main theme of the works of Gibson is the paradigm, and eventually the collapse, of patriarchial sexual identity. Baudrillard's model of Marxist class implies that truth is capable of social comment, given that realism is invalid. In a sense, the characteristic theme of Cameron's[10] critique of capitalist deappropriation is not sublimation, but presublimation.
"Truth is part of the paradigm of culture," says Sontag; however, according to von Junz[11] , it is not so much truth that is part of the paradigm of culture, but rather the absurdity, and therefore the failure, of truth. The premise of subdialectic cultural theory suggests that language serves to reinforce sexism. But the example of Marxist class which is a central theme of Gibson's Mona Lisa Overdrive emerges again in Neuromancer.
The primary theme of the works of Gibson is the role of the writer as observer. Marx suggests the use of realism to attack and modify class. Thus, any number of discourses concerning Marxist class exist.
The subject is contextualised into a subdialectic cultural theory that includes narrativity as a paradox. But Debord uses the term 'material desituationism' to denote not, in fact, discourse, but subdiscourse.
The main theme of Werther's[12] essay on subdialectic cultural theory is the role of the reader as poet. It could be said that if realism holds, the works of Gibson are reminiscent of Koons. An abundance of narratives concerning not discourse, as subdialectic cultural theory suggests, but prediscourse may be revealed. Thus, the characteristic theme of the works of Gibson is a self-sufficient whole.
The within/without distinction prevalent in Gibson's All Tomorrow's Parties is also evident in Virtual Light, although in a more mythopoetical sense. It could be said that the primary theme of Tilton's[13] model of Foucaultist power relations is the stasis, and subsequent fatal flaw, of dialectic reality.
Baudrillard promotes the use of Marxist class to deconstruct the status quo. In a sense, Lacan's analysis of realism holds that the raison d'etre of the writer is deconstruction, but only if culture is distinct from language; if that is not the case, the collective is intrinsically a legal fiction.
6. Pynchon and subdialectic cultural theory
In the works of Pynchon, a predominant concept is the concept of subdeconstructivist reality. The subject is interpolated into a Marxist class that includes consciousness as a totality. However, any number of theories concerning subdialectic cultural theory exist.
"Class is elitist," says Sartre. The main theme of the works of Pynchon is the bridge between society and reality. Thus, the subject is contextualised into a Marxist class that includes art as a paradox.
In the works of Pynchon, a predominant concept is the distinction between feminine and masculine. Derrida suggests the use of realism to analyse sexual identity. Therefore, Dahmus[14] states that we have to choose between subdialectic cultural theory and semiotic neocapitalist theory.
The premise of cultural discourse holds that narrativity, somewhat paradoxically, has significance. However, the characteristic theme of la Tournier's[15] critique of subdialectic cultural theory is a self-fulfilling whole.
Realism implies that sexuality is capable of truth. In a sense, the main theme of the works of Rushdie is the role of the poet as reader. If subdialectic cultural theory holds, we have to choose between Marxist class and posttextual objectivism. Therefore, Debord promotes the use of subdialectic cultural theory to attack outmoded, colonialist perceptions of society.
An abundance of narratives concerning a mythopoetical paradox may be found. In a sense, Sontag's model of realism states that the goal of the artist is social comment, but only if the premise of Lyotardist narrative is valid; otherwise, we can assume that the establishment is capable of intent.
D'Erlette[16] implies that we have to choose between Marxist class and the substructuralist paradigm of context. But Derrida suggests the use of realism to modify and analyse art.
7. Expressions of dialectic
"Class is fundamentally responsible for class divisions," says Debord. If subdialectic cultural theory holds, we have to choose between cultural feminism and the precapitalist paradigm of narrative. Thus, Sontag promotes the use of subdialectic cultural theory to deconstruct capitalism.
In the works of Rushdie, a predominant concept is the concept of patriarchial reality. Debord's critique of Marxist class suggests that reality must come from communication, given that sexuality is interchangeable with reality. It could be said that the primary theme of Hanfkopf's[17] model of subdialectic cultural theory is the futility, and some would say the paradigm, of neoconceptualist class.
Sontag suggests the use of dialectic sublimation to read culture. Therefore, Wilson[18] states that we have to choose between realism and neodeconstructive narrative.
The subject is interpolated into a subdialectic cultural theory that includes consciousness as a totality. But several deappropriations concerning realism exist. Baudrillard promotes the use of Marxist class to challenge sexism. It could be said that the subject is contextualised into a subdialectic cultural theory that includes language as a paradox.
The characteristic theme of the works of Tarantino is the common ground between sexual identity and culture. However, Bataille suggests the use of realism to modify and read society.
1. Pickett, R. K. L. (1977) Realities of Absurdity: Realism in the works of Mapplethorpe. And/Or Press
2. Long, S. ed. (1981) Realism, capitalism and the textual paradigm of expression. Panic Button Books
3. Hanfkopf, V. D. (1978) Reading Bataille: Subdialectic cultural theory and realism. Schlangekraft
4. Finnis, Q. ed. (1996) Realism and subdialectic cultural theory. Panic Button Books
5. d'Erlette, C. S. (1984) The Stasis of Sexual identity: Subdialectic cultural theory and realism. And/Or Press
6. von Junz, R. F. C. ed. (1973) Realism in the works of Gibson. Schlangekraft
7. Prinn, K. (1998) The Burning Sky: Realism in the works of Rushdie. Panic Button Books
8. Geoffrey, F. Y. P. ed. (1985) Realism and subdialectic cultural theory. Schlangekraft
9. Prinn, O. I. (1990) The Context of Stasis: Subdialectic cultural theory and realism. Panic Button Books
10. Cameron, V. ed. (1983) The substructuralist paradigm of discourse, capitalism and realism. University of Georgia Press
11. von Junz, O. J. (1978) The Iron Key: Realism and subdialectic cultural theory. Schlangekraft
12. Werther, I. C. S. ed. (1993) Posttextual Marxism, realism and capitalism. Panic Button Books
13. Tilton, U. (1980) The Meaninglessness of Sexual identity: Realism in the works of Pynchon. And/Or Press
14. Dahmus, T. L. ed. (1996) Subdialectic cultural theory in the works of Stone. O'Reilly & Associates
15. la Tournier, U. (1972) Deconstructing Expressionism: Realism in the works of Rushdie. Schlangekraft
16. d'Erlette, E. J. S. ed. (1996) Subdialectic cultural theory and realism. O'Reilly & Associates
17. Hanfkopf, T. (1987) The Stasis of Sexual identity: Realism in the works of Tarantino. And/Or Press
18. Wilson, F. J. K. ed. (1972) Realism and subdialectic cultural theory. Oxford University Press
The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator. To generate another essay, follow this link. If you like this particular essay and would like to return to it, follow this link for a bookmarkable page.
The Postmodernism Generator was written by Andrew C. Bulhak using the Dada Engine, a system for generating random text from recursive grammars, and modified very slightly by Josh Larios (this version, anyway. There are others out there).
This installation of the Generator has delivered 1624923 essays since 25/Feb/2000 18:43:09 PST, when it became operational. It is being served from a machine in Seattle, Washington, USA.
More detailed technical information may be found in Monash University Department of Computer Science Technical Report 96/264: "On the Simulation of Postmodernism and Mental Debility Using Recursive Transition Networks". An on-line copy is available from Monash University.
More generated texts are linked to from the Communications From Elsewhere front page.
If you enjoy this, you might also enjoy reading about the Social Text Affair, where NYU Physics Professor Alan Sokal's brilliant(ly meaningless) hoax article was accepted by a cultural criticism publication.
posted by Dave at 9:27 PM
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