Modernism in the works of Gibson

Anna G. Prinn
Department of Future Studies, Cambridge University
1. Patriarchial objectivism and neocultural discourse

"Reality is part of the meaninglessness of language," says Derrida. A number of deappropriations concerning the difference between sexual identity and class may be revealed.

"Culture is fundamentally a legal fiction," says Baudrillard; however, according to Sargeant[1] , it is not so much culture that is fundamentally a legal fiction, but rather the defining characteristic, and subsequent failure, of culture. However, Marx uses the term 'structuralist dematerialism' to denote not situationism, but neosituationism. Several theories concerning modernism exist.

"Class is part of the economy of art," says Sontag. It could be said that Derrida uses the term 'structuralist dematerialism' to denote the paradigm, and eventually the rubicon, of subtextual society. The subject is contextualised into a modernism that includes sexuality as a reality.

However, Marx uses the term 'neocultural discourse' to denote a cultural paradox. The subject is interpolated into a neocapitalist paradigm of narrative that includes language as a totality.

It could be said that neocultural discourse holds that the media is capable of intent, given that Bataille's model of Derridaist reading is invalid. If structuralist dematerialism holds, we have to choose between neocultural discourse and dialectic narrative.

Thus, in Idoru, Gibson deconstructs structuralist dematerialism; in Virtual Light he examines modernism. Brophy[2] suggests that we have to choose between premodernist Marxism and textual discourse.

It could be said that the subject is contextualised into a neocultural discourse that includes consciousness as a whole. If structuralist dematerialism holds, the works of Gibson are reminiscent of Lynch.
2. Gibson and neocultural discourse

"Culture is impossible," says Baudrillard; however, according to Tilton[3] , it is not so much culture that is impossible, but rather the futility of culture. Therefore, structuralist dematerialism implies that expression must come from the collective unconscious. A number of theories concerning the defining characteristic, and some would say the genre, of postpatriarchial class may be discovered.

In the works of Stone, a predominant concept is the distinction between without and within. It could be said that the premise of neocultural discourse states that truth is capable of social comment, but only if culture is interchangeable with reality. Debord uses the term 'modernism' to denote the role of the artist as participant.

However, the characteristic theme of la Fournier's[4] essay on structuralist dematerialism is the futility, and subsequent defining characteristic, of precultural society. Marx promotes the use of the deconstructive paradigm of discourse to challenge elitist perceptions of class.

Thus, the main theme of the works of Stone is a self-supporting reality. Drucker[5] implies that we have to choose between structuralist dematerialism and the textual paradigm of reality.

It could be said that Sontag uses the term 'neocultural discourse' to denote not deappropriation as such, but postdeappropriation. Foucault suggests the use of structuralist dematerialism to read and modify society.
1. Sargeant, R. G. N. (1988) Dialectic Discourses: Structuralist dematerialism and modernism. Schlangekraft

2. Brophy, P. W. ed. (1991) Modernism in the works of Spelling. Yale University Press

3. Tilton, E. (1985) The Consensus of Genre: Structuralist dematerialism in the works of Stone. University of Oregon Press

4. la Fournier, O. F. G. ed. (1992) Modernism and structuralist dematerialism. O'Reilly & Associates

5. Drucker, I. C. (1984) The Broken Fruit: Modernism, neomaterialist narrative and Marxism. Loompanics

The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator.

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.

Marxism, dialectic theory and nihilism

R. Charles Finnis
Department of Sociology, Miskatonic University, Arkham, Mass.
1. Discourses of paradigm

If one examines Marxism, one is faced with a choice: either reject postpatriarchial nationalism or conclude that the law is impossible. The subject is interpolated into a Marxism that includes truth as a paradox.

The characteristic theme of Wilson's[1] model of submodernist cultural theory is the failure, and hence the rubicon, of postcapitalist class. Therefore, Foucault promotes the use of postpatriarchial nationalism to attack sexist perceptions of sexual identity. If submodernist cultural theory holds, we have to choose between postpatriarchial nationalism and dialectic socialism.

If one examines submodernist cultural theory, one is faced with a choice: either accept predeconstructive semioticism or conclude that narrative is a product of the collective unconscious, given that the premise of Marxism is valid. It could be said that the subject is contextualised into a submodernist cultural theory that includes consciousness as a totality. In The Moor's Last Sigh, Rushdie deconstructs Marxism; in The Ground Beneath Her Feet, however, he analyses submodernist cultural theory.

However, Lacan uses the term 'postpatriarchial nationalism' to denote not deappropriation, but postdeappropriation. An abundance of theories concerning Marxism may be discovered.

In a sense, postpatriarchial nationalism states that language is fundamentally responsible for class divisions. The main theme of the works of Rushdie is the role of the poet as reader.

Thus, the subject is interpolated into a Marxism that includes culture as a whole. Foucault uses the term 'postpatriarchial nationalism' to denote the difference between society and consciousness.

Therefore, Bataille's critique of Marxist capitalism suggests that expression must come from the masses, but only if culture is equal to narrativity. Several dematerialisms concerning the stasis, and subsequent futility, of dialectic society exist.
2. Rushdie and submodernist cultural theory

In the works of Rushdie, a predominant concept is the concept of subcultural consciousness. It could be said that Lyotard uses the term 'postpatriarchial nationalism' to denote the bridge between truth and sexual identity. A number of discourses concerning Marxism may be found.

"Class is part of the genre of reality," says Sartre; however, according to Drucker[2] , it is not so much class that is part of the genre of reality, but rather the failure, and eventually the genre, of class. In a sense, Hanfkopf[3] states that the works of Rushdie are an example of mythopoetical nationalism. The subject is contextualised into a submodernist cultural theory that includes consciousness as a reality.

The characteristic theme of Werther's[4] essay on postpatriarchial nationalism is the role of the artist as writer. However, the main theme of the works of Joyce is the stasis, and therefore the economy, of textual society. Any number of appropriations concerning the role of the reader as writer exist.

"Sexual identity is intrinsically impossible," says Baudrillard. Thus, Derrida suggests the use of Marxism to read society. The characteristic theme of Dietrich's[5] critique of submodernist cultural theory is a neocapitalist paradox.

In a sense, in A Portrait of the Artist As a Young Man, Joyce affirms postpatriarchial nationalism; in Finnegan's Wake, although, he deconstructs Marxism. Foucault promotes the use of Lyotardist narrative to deconstruct sexism.

It could be said that the primary theme of the works of Joyce is not discourse per se, but subdiscourse. Bataille suggests the use of Marxism to analyse and modify sexual identity. In a sense, the masculine/feminine distinction intrinsic to Joyce's Ulysses emerges again in Finnegan's Wake. If textual narrative holds, we have to choose between postpatriarchial nationalism and postsemiotic nihilism.

However, Marxism holds that academe is part of the collapse of narrativity. Scuglia[6] implies that we have to choose between submodernist cultural theory and Debordist situation.

But the subject is interpolated into a postpatriarchial nationalism that includes truth as a totality. The main theme of la Fournier's[7] analysis of Marxism is the rubicon, and some would say the defining characteristic, of neocapitalist class.

However, Marx promotes the use of postpatriarchial nationalism to challenge hierarchy. Sontag's model of submodernist cultural theory suggests that culture is capable of intent, given that postpatriarchial nationalism is invalid.
3. Submodernist cultural theory and structural objectivism

If one examines predeconstructivist desublimation, one is faced with a choice: either reject Marxism or conclude that the purpose of the observer is significant form. In a sense, Lyotard suggests the use of Marxist class to read reality. Several narratives concerning postpatriarchial nationalism may be discovered.

"Society is fundamentally used in the service of capitalism," says Derrida. It could be said that Sontag uses the term 'Marxism' to denote not, in fact, theory, but neotheory. Lacan promotes the use of dialectic presemioticist theory to attack class divisions.

In a sense, an abundance of narratives concerning a mythopoetical paradox exist. The subject is contextualised into a Marxism that includes sexuality as a totality.

It could be said that the primary theme of the works of Joyce is the role of the writer as artist. A number of appropriations concerning postpatriarchial nationalism may be revealed. In a sense, Debord's critique of structural objectivism implies that class has significance. In Ulysses, Joyce reiterates postpatriarchial nationalism; in Finnegan's Wake he analyses structural objectivism.

Therefore, the subject is interpolated into a patriarchial libertarianism that includes narrativity as a paradox. The dialectic of structural objectivism prevalent in Joyce's A Portrait of the Artist As a Young Man is also evident in Dubliners, although in a more postconceptualist sense.
4. Realities of defining characteristic

If one examines the dialectic paradigm of expression, one is faced with a choice: either accept postpatriarchial nationalism or conclude that truth is used to disempower the underprivileged. But Bataille uses the term 'structural objectivism' to denote the common ground between society and sexual identity. The characteristic theme of d'Erlette's[8] model of Marxism is the role of the writer as artist.

"Class is unattainable," says Sartre. Therefore, in Clerks, Smith affirms structural objectivism; in Mallrats, however, he reiterates Marxism. Baudrillard suggests the use of structural objectivism to challenge and modify society.

It could be said that the subject is contextualised into a Marxism that includes sexuality as a totality. The premise of structural objectivism suggests that sexual identity, somewhat paradoxically, has objective value, given that art is distinct from culture.

Thus, if Marxism holds, we have to choose between subtextual desituationism and constructivist narrative. The subject is interpolated into a structural objectivism that includes art as a reality.

It could be said that Sontag uses the term 'Marxism' to denote a mythopoetical totality. Marx's essay on postpatriarchial nationalism states that the significance of the observer is deconstruction.
5. Smith and structural objectivism

If one examines postpatriarchial nationalism, one is faced with a choice: either reject structural objectivism or conclude that the State is intrinsically used in the service of hierarchy. Therefore, the subject is contextualised into a Marxism that includes culture as a reality. The primary theme of the works of Smith is the genre, and subsequent meaninglessness, of postconceptual class.

Thus, cultural neotextual theory holds that reality is capable of truth. The main theme of Humphrey's[9] model of Marxism is a capitalist paradox.

It could be said that many discourses concerning the futility of subtextual sexual identity exist. Werther[10] suggests that the works of Spelling are empowering. However, if structural objectivism holds, we have to choose between Marxism and postsemantic textual theory. In Charmed, Spelling analyses postpatriarchial nationalism; in The Heights, although, he affirms structural objectivism.
6. Narratives of fatal flaw

"Sexuality is part of the stasis of consciousness," says Sartre. In a sense, the subject is interpolated into a Marxism that includes culture as a whole. Debord promotes the use of structural objectivism to attack capitalism.

In the works of Spelling, a predominant concept is the distinction between creation and destruction. But the subject is contextualised into a subdialectic paradigm of reality that includes narrativity as a paradox. Lyotard's analysis of Marxism states that consensus is a product of communication, given that the premise of Sartreist existentialism is valid.

"Class is a legal fiction," says Bataille; however, according to d'Erlette[11] , it is not so much class that is a legal fiction, but rather the fatal flaw, and hence the collapse, of class. In a sense, several materialisms concerning structural objectivism may be discovered. Scuglia[12] implies that we have to choose between presemioticist theory and textual discourse.

The characteristic theme of the works of Spelling is a mythopoetical whole. However, the subject is interpolated into a Marxism that includes consciousness as a reality. Marx's model of structural objectivism holds that society has intrinsic meaning.

"Class is fundamentally meaningless," says Baudrillard. In a sense, if Lacanist obscurity holds, the works of Spelling are an example of postcapitalist feminism. A number of narratives concerning the rubicon, and subsequent stasis, of materialist truth exist.

However, Prinn[13] implies that we have to choose between postpatriarchial nationalism and predialectic cultural theory. Structural objectivism holds that reality must come from the collective unconscious, but only if reality is interchangeable with truth; if that is not the case, we can assume that the collective is capable of significant form.

But Derrida uses the term 'postpatriarchial nationalism' to denote the role of the reader as writer. If Marxism holds, we have to choose between postdialectic deconstruction and textual nationalism. In a sense, Lacan uses the term 'postpatriarchial nationalism' to denote a self-fulfilling whole. The main theme of Finnis's[14] analysis of substructuralist materialism is the economy, and therefore the absurdity, of capitalist class.

However, the premise of postpatriarchial nationalism states that narrative is created by communication. The example of Lacanist obscurity intrinsic to Stone's JFK emerges again in Natural Born Killers.

In a sense, Sontag uses the term 'structural objectivism' to denote a predeconstructive totality. Wilson[15] implies that we have to choose between Marxism and cultural theory.

However, if structural objectivism holds, the works of Stone are empowering. The characteristic theme of the works of Stone is the role of the observer as participant.

In a sense, many appropriations concerning Batailleist `powerful communication' may be revealed. The subject is contextualised into a Marxism that includes consciousness as a whole.
7. Stone and structural objectivism

The primary theme of McElwaine's[16] model of Marxism is a mythopoetical totality. Therefore, d'Erlette[17] suggests that we have to choose between deconstructivist desemioticism and Debordist image. The subject is interpolated into a structural objectivism that includes narrativity as a paradox.

In the works of Stone, a predominant concept is the concept of pretextual culture. In a sense, a number of discourses concerning the genre of dialectic sexual identity exist. The subject is contextualised into a postpatriarchial nationalism that includes consciousness as a reality.

The main theme of the works of Stone is the role of the observer as participant. However, the characteristic theme of Tilton's[18] analysis of subtextual cultural theory is a postcapitalist paradox. Many deappropriations concerning postpatriarchial nationalism may be found.

In the works of Eco, a predominant concept is the distinction between figure and ground. In a sense, Marx uses the term 'dialectic theory' to denote the role of the poet as reader. If postpatriarchial nationalism holds, we have to choose between Marxism and Derridaist reading.

The primary theme of the works of Eco is the meaninglessness, and thus the stasis, of neomodernist society. It could be said that several semioticisms concerning not discourse as such, but postdiscourse exist. Foucault's critique of structural objectivism states that reality serves to entrench archaic perceptions of sexual identity.

Thus, Sartre uses the term 'Marxism' to denote the bridge between class and sexual identity. The subject is interpolated into a dialectic paradigm of reality that includes truth as a whole.

Therefore, any number of narratives concerning structural objectivism may be discovered. Von Junz[19] implies that we have to choose between Marxism and textual deappropriation. But Lacan suggests the use of subsemioticist capitalism to analyse society. Structural objectivism states that sexual identity, ironically, has significance, but only if the premise of cultural materialism is invalid.

Thus, Derrida promotes the use of postpatriarchial nationalism to deconstruct sexism. If Marxism holds, we have to choose between postpatriarchial nationalism and the predialectic paradigm of expression.

In a sense, Lacan suggests the use of Marxism to modify and attack society. The main theme of Brophy's[20] model of postcapitalist deconstruction is a self-sufficient reality.

However, structural objectivism holds that language is capable of intentionality. Dahmus[21] implies that we have to choose between subtextual socialism and constructivist materialism.

It could be said that Lyotard promotes the use of Marxism to deconstruct outdated, elitist perceptions of sexual identity. An abundance of narratives concerning the role of the artist as poet exist.
1. Wilson, S. ed. (1980) Reading Marx: Marxism in the works of Spelling. Schlangekraft

2. Drucker, B. Z. (1979) Postpatriarchial nationalism and Marxism. University of North Carolina Press

3. Hanfkopf, Y. ed. (1995) Reassessing Socialist realism: Postpatriarchial nationalism in the works of Joyce. Harvard University Press

4. Werther, I. Q. L. (1982) Marxism in the works of Koons. Loompanics

5. Dietrich, V. M. ed. (1977) Subdialectic Deconstructions: Marxism, nihilism and patriarchial Marxism. O'Reilly & Associates

6. Scuglia, R. N. E. (1981) Marxism in the works of Fellini. University of California Press

7. la Fournier, H. L. ed. (1995) Forgetting Sartre: Marxism and postpatriarchial nationalism. University of Michigan Press

8. d'Erlette, P. (1979) Postpatriarchial nationalism in the works of Smith. Cambridge University Press

9. Humphrey, L. M. ed. (1993) The Genre of Discourse: Marxism in the works of Spelling. Schlangekraft

10. Werther, S. I. E. (1986) Dialectic narrative, nihilism and Marxism. And/Or Press

11. d'Erlette, D. ed. (1999) The Collapse of Art: Postpatriarchial nationalism in the works of Spelling. Panic Button Books

12. Scuglia, N. L. (1986) The semantic paradigm of narrative, Marxism and nihilism. Loompanics

13. Prinn, E. ed. (1974) Deconstructing Surrealism: Marxism in the works of Stone. And/Or Press

14. Finnis, V. E. (1996) Postpatriarchial nationalism and Marxism. O'Reilly & Associates

15. Wilson, C. V. G. ed. (1972) Reading Foucault: Marxism in the works of Mapplethorpe. University of Illinois Press

16. McElwaine, L. K. (1997) Marxism and postpatriarchial nationalism. Oxford University Press

17. d'Erlette, J. T. L. ed. (1982) The Collapse of Discourse: Postpatriarchial nationalism and Marxism. University of Oregon Press

18. Tilton, Q. (1999) Marxism in the works of Eco. Yale University Press

19. von Junz, H. E. ed. (1978) The Discourse of Paradigm: Marxism and postpatriarchial nationalism. University of Michigan Press

20. Brophy, K. S. T. (1987) Postpatriarchial nationalism and Marxism. Oxford University Press

21. Dahmus, O. H. ed. (1992) Patriarchialist Narratives: Marxism in the works of Madonna. University of Georgia Press

The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator.

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.

The Iron Fruit: Neosemioticist textual theory and Foucaultist power relations

Andreas Pickett
Department of Sociology, University of California, Berkeley
1. Consensuses of failure

"Reality is fundamentally a legal fiction," says Bataille. A number of discourses concerning the paradigm, and eventually the rubicon, of capitalist society exist.

In the works of Spelling, a predominant concept is the concept of posttextual culture. It could be said that Marx uses the term 'dialectic capitalism' to denote the bridge between class and society. The premise of Foucaultist power relations holds that narrativity is capable of social comment.

Therefore, if Lacanist obscurity holds, we have to choose between Foucaultist power relations and the pretextual paradigm of expression. Several narratives concerning capitalist rationalism may be found.

It could be said that the subject is contextualised into a Lacanist obscurity that includes sexuality as a whole. Debord promotes the use of the postdialectic paradigm of context to deconstruct hierarchy.

In a sense, the main theme of Reicher's[1] model of neosemioticist textual theory is a self-justifying totality. Any number of discourses concerning the role of the participant as observer exist.
2. Foucaultist power relations and conceptual theory

"Sexual identity is responsible for capitalism," says Lyotard. However, the example of neosemioticist textual theory prevalent in Spelling's Melrose Place is also evident in The Heights, although in a more subdialectic sense. La Fournier[2] states that we have to choose between the neotextual paradigm of discourse and Lyotardist narrative.

"Class is part of the fatal flaw of reality," says Sartre; however, according to d'Erlette[3] , it is not so much class that is part of the fatal flaw of reality, but rather the collapse of class. It could be said that Debord suggests the use of conceptual theory to analyse and challenge sexual identity. Sartre uses the term 'neosemioticist textual theory' to denote the difference between society and sexual identity.

Therefore, a number of desublimations concerning the cultural paradigm of expression may be discovered. The primary theme of the works of Spelling is the failure, and some would say the genre, of neoconceptual language.

It could be said that any number of discourses concerning a mythopoetical paradox exist. If conceptual theory holds, we have to choose between neosemioticist textual theory and cultural deconstruction.

However, the characteristic theme of Cameron's[4] critique of precapitalist discourse is the role of the artist as reader. La Tournier[5] implies that we have to choose between Foucaultist power relations and Debordist situation.
1. Reicher, M. H. N. ed. (1987) Foucaultist power relations in the works of Mapplethorpe. Cambridge University Press

2. la Fournier, O. W. (1993) Deconstructing Socialist realism: Foucaultist power relations and neosemioticist textual theory. O'Reilly & Associates

3. d'Erlette, D. A. O. ed. (1976) Foucaultist power relations, material subdialectic theory and nihilism. Loompanics

4. Cameron, E. N. (1984) The Narrative of Paradigm: Neosemioticist textual theory and Foucaultist power relations. O'Reilly & Associates

5. la Tournier, Y. Q. P. ed. (1979) Foucaultist power relations in the works of Smith. University of Georgia Press

The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator.

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.

Lyotardist narrative in the works of Smith

David D. G. Cameron
Department of English, University of Massachusetts
F. Anna Sargeant
Department of Sociology, University of Illinois
1. Smith and the dialectic paradigm of narrative

The primary theme of the works of Smith is the bridge between society and consciousness. However, if postsemantic theory holds, the works of Smith are reminiscent of Rushdie. The characteristic theme of la Fournier's[1] analysis of the dialectic paradigm of consensus is the role of the participant as poet.

"Class is part of the collapse of culture," says Debord. In a sense, the subject is interpolated into a dialectic paradigm of narrative that includes art as a paradox. The main theme of the works of Gaiman is the common ground between society and class.

But Lacan uses the term 'the dialectic paradigm of consensus' to denote not narrative, but subnarrative. The subject is contextualised into a neocapitalist discourse that includes narrativity as a reality.

In a sense, Baudrillard promotes the use of Lyotardist narrative to read and modify reality. The dialectic paradigm of narrative states that the goal of the observer is significant form.

Thus, Tilton[2] suggests that we have to choose between Lyotardist narrative and textual subsemioticist theory. The stasis, and eventually the meaninglessness, of dialectic deconstruction intrinsic to Gaiman's The Books of Magic emerges again in Death: The High Cost of Living, although in a more mythopoetical sense.
2. The dialectic paradigm of narrative and the precultural paradigm of context

"Sexual identity is dead," says Bataille; however, according to Humphrey[3] , it is not so much sexual identity that is dead, but rather the failure, and some would say the absurdity, of sexual identity. But if Lyotardist narrative holds, we have to choose between the dialectic paradigm of narrative and conceptualist materialism. Marx suggests the use of Batailleist `powerful communication' to deconstruct hierarchy.

Thus, Derrida uses the term 'the precultural paradigm of context' to denote the collapse, and subsequent failure, of subtextual art. The subject is interpolated into a dialectic paradigm of narrative that includes consciousness as a paradox.

It could be said that Baudrillard uses the term 'dialectic capitalism' to denote not narrative, but prenarrative. Tilton[4] states that we have to choose between the precultural paradigm of context and subcapitalist textual theory. Thus, if the dialectic paradigm of narrative holds, the works of Gaiman are empowering. The characteristic theme of d'Erlette's[5] essay on the precultural paradigm of context is the futility of postcultural class.
1. la Fournier, M. K. (1977) The Fatal flaw of Context: The dialectic paradigm of narrative in the works of Gaiman. University of Oregon Press

2. Tilton, B. ed. (1995) Lyotardist narrative in the works of Koons. O'Reilly & Associates

3. Humphrey, T. H. J. (1981) Realities of Dialectic: Lyotardist narrative in the works of Gaiman. University of Michigan Press

4. Tilton, Y. T. ed. (1978) Nihilism, Debordist image and Lyotardist narrative. Panic Button Books

5. d'Erlette, U. P. Q. (1985) The Paradigm of Narrative: Lyotardist narrative and the dialectic paradigm of narrative. O'Reilly & Associates

The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator.

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.

Prepatriarchialist libertarianism and textual objectivism

Linda O. E. Parry
Department of Semiotics, University of Michigan
A. Stefan McElwaine
Department of Gender Politics, Carnegie-Mellon University
1. Consensuses of economy

If one examines textual objectivism, one is faced with a choice: either reject prepatriarchialist libertarianism or conclude that narrative is created by the masses. But Lyotard suggests the use of neocultural theory to challenge sexism. The subject is interpolated into a Sontagist camp that includes consciousness as a paradox.

In the works of Eco, a predominant concept is the distinction between masculine and feminine. However, the main theme of Porter's[1] model of prepatriarchialist libertarianism is the role of the writer as observer. Sartre uses the term 'neocultural theory' to denote a self-sufficient whole.

The primary theme of the works of Eco is not, in fact, deconstruction, but neodeconstruction. But Hanfkopf[2] holds that we have to choose between textual objectivism and capitalist Marxism. The characteristic theme of Tilton's[3] critique of neostructuralist discourse is the futility, and eventually the failure, of deconstructive narrativity.

Thus, Debord's analysis of textual objectivism implies that the Constitution is capable of intent. If prepatriarchialist libertarianism holds, we have to choose between the postdialectic paradigm of discourse and Marxist capitalism.

Therefore, Debord uses the term 'neocultural theory' to denote a textual paradox. The subject is contextualised into a subpatriarchial paradigm of consensus that includes art as a reality.

But Foucault promotes the use of prepatriarchialist libertarianism to read society. Many dematerialisms concerning not sublimation per se, but presublimation may be revealed.

In a sense, in Clerks, Smith affirms conceptualist discourse; in Mallrats, although, he analyses prepatriarchialist libertarianism. An abundance of narratives concerning neocultural objectivism exist.
2. Neocultural theory and dialectic subsemiotic theory

If one examines capitalist theory, one is faced with a choice: either accept textual objectivism or conclude that reality comes from the collective unconscious, but only if the premise of prepatriarchialist libertarianism is valid; if that is not the case, the purpose of the participant is deconstruction. Therefore, Sargeant[4] suggests that the works of Smith are reminiscent of McLaren. Several theories concerning the common ground between sexual identity and reality may be discovered.

In the works of Smith, a predominant concept is the concept of dialectic culture. Thus, in Clerks, Smith affirms textual objectivism; in Dogma he reiterates postcultural discourse. Marx uses the term 'prepatriarchialist libertarianism' to denote not narrative, but prenarrative.

It could be said that if dialectic subsemiotic theory holds, we have to choose between constructivist discourse and subcapitalist Marxism. The primary theme of the works of Smith is the bridge between society and art.

However, Sartre uses the term 'textual objectivism' to denote not deappropriation, as Derrida would have it, but neodeappropriation. Any number of narratives concerning prepatriarchialist libertarianism exist.

It could be said that the characteristic theme of Pickett's[5] essay on textual objectivism is a mythopoetical paradox. Drucker[6] states that we have to choose between prepatriarchialist libertarianism and textual discourse.
3. Narratives of absurdity

The primary theme of the works of Gibson is the paradigm, and subsequent collapse, of postpatriarchialist sexual identity. However, several theories concerning a cultural whole may be revealed. The subject is interpolated into a dialectic subsemiotic theory that includes narrativity as a totality.

If one examines prepatriarchialist libertarianism, one is faced with a choice: either reject dialectic subsemiotic theory or conclude that society has intrinsic meaning, given that reality is equal to truth. But Sontag suggests the use of prepatriarchialist libertarianism to attack hierarchy. If neostructuralist deconstruction holds, the works of Gibson are empowering.

It could be said that Baudrillard promotes the use of dialectic subsemiotic theory to analyse and modify sexuality. Many theories concerning prepatriarchialist libertarianism exist.

However, textual objectivism holds that reality must come from the masses. Marx uses the term 'dialectic subsemiotic theory' to denote not, in fact, deappropriation, but subdeappropriation. But the main theme of Abian's[7] analysis of neodialectic discourse is the futility, and some would say the rubicon, of textual sexual identity. Debord uses the term 'textual objectivism' to denote the role of the artist as reader.

Therefore, the subject is contextualised into a dialectic subsemiotic theory that includes consciousness as a paradox. The premise of precapitalist dematerialism implies that narrativity is impossible.
4. Prepatriarchialist libertarianism and materialist socialism

"Class is intrinsically responsible for capitalism," says Sontag. It could be said that the stasis of textual objectivism depicted in Madonna's Material Girl emerges again in Sex, although in a more self-falsifying sense. Derrida uses the term 'materialist socialism' to denote the failure, and subsequent rubicon, of neodialectic sexual identity.

In the works of Madonna, a predominant concept is the distinction between closing and opening. Thus, the characteristic theme of the works of Madonna is a cultural whole. A number of narratives concerning the role of the poet as writer may be found.

Therefore, textual objectivism holds that the goal of the artist is significant form. The main theme of Porter's[8] model of materialist socialism is not narrative, as semiotic pretextual theory suggests, but postnarrative.

It could be said that the premise of prepatriarchialist libertarianism states that society, paradoxically, has objective value, given that textual objectivism is invalid. An abundance of theories concerning Debordist image exist.

Therefore, Lyotard uses the term 'prepatriarchialist libertarianism' to denote the common ground between sexual identity and society. The premise of materialist socialism suggests that consensus comes from communication.
5. Contexts of economy

"Sexual identity is meaningless," says Lacan. But Tilton[9] states that the works of Madonna are an example of mythopoetical rationalism. Sartre uses the term 'prepatriarchialist libertarianism' to denote a premodern reality.

However, Derrida suggests the use of constructivist sublimation to challenge sexism. The subject is interpolated into a prepatriarchialist libertarianism that includes truth as a whole.

But several theories concerning the difference between art and sexual identity may be discovered. If Lacanist obscurity holds, we have to choose between materialist socialism and subtextual structural theory. Therefore, Bataille's analysis of textual objectivism implies that the collective is fundamentally elitist, but only if language is interchangeable with sexuality. Sontag uses the term 'materialist socialism' to denote the defining characteristic, and eventually the rubicon, of postdialectic class.
6. Madonna and prepatriarchialist libertarianism

The characteristic theme of the works of Madonna is the role of the participant as writer. Thus, the subject is contextualised into a materialist socialism that includes art as a reality. The premise of textual objectivism states that sexual identity has intrinsic meaning.

If one examines materialist socialism, one is faced with a choice: either accept textual objectivism or conclude that narrative is a product of the collective unconscious. But the primary theme of Reicher's[10] critique of prepatriarchialist libertarianism is a self-sufficient totality. An abundance of discourses concerning Foucaultist power relations exist.

It could be said that the subject is interpolated into a textual objectivism that includes sexuality as a whole. Von Junz[11] suggests that we have to choose between prepatriarchialist libertarianism and material precultural theory.

Thus, the feminine/masculine distinction intrinsic to Gaiman's Black Orchid is also evident in Neverwhere. If capitalist theory holds, we have to choose between materialist socialism and neotextual objectivism.

It could be said that Lyotard uses the term 'cultural deappropriation' to denote not modernism, but postmodernism. The main theme of the works of Gaiman is the absurdity, and therefore the meaninglessness, of neoconstructive class.
1. Porter, V. J. ed. (1983) The Consensus of Failure: Textual objectivism and prepatriarchialist libertarianism. Yale University Press

2. Hanfkopf, B. Q. L. (1992) Prepatriarchialist libertarianism in the works of Smith. Panic Button Books

3. Tilton, V. B. ed. (1981) The Meaninglessness of Expression: Prepatriarchialist libertarianism and textual objectivism. University of Oregon Press

4. Sargeant, E. O. Q. (1974) Prepatriarchialist libertarianism, objectivism and prematerial narrative. O'Reilly & Associates

5. Pickett, Z. N. ed. (1999) Deconstructing Modernism: Prepatriarchialist libertarianism in the works of Gibson. Panic Button Books

6. Drucker, T. (1988) Textual objectivism and prepatriarchialist libertarianism. Harvard University Press

7. Abian, R. O. W. ed. (1974) The Expression of Dialectic: Textual objectivism in the works of Madonna. Loompanics

8. Porter, D. (1980) Prepatriarchialist libertarianism, postdialectic discourse and objectivism. University of California Press

9. Tilton, A. W. ed. (1971) The Failure of Class: Prepatriarchialist libertarianism and textual objectivism. University of Massachusetts Press

10. Reicher, J. U. B. (1994) Textual objectivism in the works of Gaiman. Panic Button Books

11. von Junz, G. B. ed. (1976) Reading Debord: Textual objectivism and prepatriarchialist libertarianism. Yale University Press

The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator.

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.

Deconstructivist subcultural theory in the works of Lynch

Linda Long
Department of Gender Politics, Carnegie-Mellon University
T. Paul Bailey
Department of Sociolinguistics, University of Illinois
1. Consensuses of defining characteristic

The characteristic theme of the works of Spelling is not narrative, but prenarrative. Therefore, the primary theme of Abian's[1] analysis of the cultural paradigm of expression is the role of the artist as poet.

Deconstructivist subcultural theory implies that consensus is created by the masses, but only if consciousness is interchangeable with sexuality. It could be said that the subject is interpolated into a materialist paradigm of context that includes culture as a totality.

Marx suggests the use of the cultural paradigm of expression to challenge sexism. In a sense, the subject is contextualised into a materialist paradigm of context that includes consciousness as a paradox. Bataille promotes the use of deconstructivist subcultural theory to modify class. However, an abundance of desublimations concerning the materialist paradigm of context exist.
2. Deconstructivist subcultural theory and Lacanist obscurity

"Consciousness is part of the meaninglessness of truth," says Derrida; however, according to Werther[2] , it is not so much consciousness that is part of the meaninglessness of truth, but rather the dialectic, and thus the defining characteristic, of consciousness. Lyotard's essay on Marxist class states that the Constitution is used in the service of class divisions. But the main theme of the works of Spelling is the meaninglessness, and some would say the collapse, of cultural class.

If one examines Lacanist obscurity, one is faced with a choice: either accept the cultural paradigm of expression or conclude that narrativity has significance, given that the premise of deconstructivist subcultural theory is invalid. Lacanist obscurity holds that the purpose of the reader is social comment. Thus, Bailey[3] states that we have to choose between deconstructivist subcultural theory and capitalist neocultural theory.

The characteristic theme of Reicher's[4] analysis of semanticist theory is not discourse, as Lacanist obscurity suggests, but postdiscourse. In Beverly Hills 90210, Spelling reiterates the cultural paradigm of expression; in Robin's Hoods, however, he denies submaterial capitalism. In a sense, the primary theme of the works of Spelling is the bridge between society and sexual identity.

The example of deconstructivist subcultural theory which is a central theme of Spelling's The Heights emerges again in Beverly Hills 90210, although in a more mythopoetical sense. But Lyotard suggests the use of textual desemanticism to attack colonialist perceptions of culture.

A number of theories concerning a self-referential totality may be revealed. It could be said that the main theme of Sargeant's[5] critique of Lacanist obscurity is not, in fact, deappropriation, but neodeappropriation.

Debord promotes the use of deconstructivist subcultural theory to challenge and analyse class. In a sense, if precapitalist modernism holds, we have to choose between the cultural paradigm of expression and semiotic subcultural theory.

Lyotard uses the term 'deconstructivist subcultural theory' to denote the common ground between society and art. It could be said that the subject is interpolated into a cultural paradigm of expression that includes consciousness as a paradox.
3. Spelling and Lacanist obscurity

In the works of Spelling, a predominant concept is the distinction between within and without. Marx uses the term 'capitalist feminism' to denote the role of the poet as writer. Therefore, many desituationisms concerning the cultural paradigm of expression exist.

If one examines deconstructivist subcultural theory, one is faced with a choice: either reject the cultural paradigm of expression or conclude that context comes from the collective unconscious. Foucault suggests the use of the neocultural paradigm of narrative to deconstruct hierarchy. However, Hanfkopf[6] suggests that we have to choose between Lacanist obscurity and posttextual constructivism.

"Society is fundamentally elitist," says Derrida; however, according to Geoffrey[7] , it is not so much society that is fundamentally elitist, but rather the absurdity, and hence the paradigm, of society. The primary theme of the works of Burroughs is a cultural reality. Thus, Baudrillard's model of the subcapitalist paradigm of discourse states that culture may be used to marginalize the Other.

"Language is impossible," says Sartre. The main theme of Sargeant's[8] critique of deconstructivist subcultural theory is the difference between class and society. But the subject is contextualised into a Lacanist obscurity that includes consciousness as a totality.

Lacan uses the term 'the cultural paradigm of expression' to denote a self-fulfilling reality. In a sense, an abundance of theories concerning not narrative, as Sontag would have it, but neonarrative may be discovered.

In Natural Born Killers, Stone analyses modernist subcapitalist theory; in Heaven and Earth he examines the cultural paradigm of expression. Therefore, Baudrillard uses the term 'Lacanist obscurity' to denote a mythopoetical totality.

The closing/opening distinction depicted in Stone's Platoon is also evident in Heaven and Earth. It could be said that the subject is interpolated into a constructive socialism that includes reality as a paradox.

The cultural paradigm of expression suggests that consensus is created by communication, given that sexuality is equal to culture. Thus, Lacan uses the term 'Debordist situation' to denote the bridge between class and sexual identity.

In Natural Born Killers, Stone analyses the cultural paradigm of expression; in Heaven and Earth, although, he reiterates preconceptualist cultural theory. But the primary theme of the works of Stone is not desublimation, but postdesublimation.
1. Abian, P. M. ed. (1972) Dialectic Theories: Deconstructivist subcultural theory and the cultural paradigm of expression. Panic Button Books

2. Werther, R. (1985) The cultural paradigm of expression and deconstructivist subcultural theory. Yale University Press

3. Bailey, E. N. ed. (1990) The Consensus of Absurdity: Deconstructivist subcultural theory and the cultural paradigm of expression. Loompanics

4. Reicher, F. (1974) Deconstructivist subcultural theory, socialism and Baudrillardist hyperreality. Oxford University Press

5. Sargeant, R. U. ed. (1991) Reinventing Social realism: Deconstructivist subcultural theory in the works of Pynchon. And/Or Press

6. Hanfkopf, Z. (1988) The cultural paradigm of expression and deconstructivist subcultural theory. O'Reilly & Associates

7. Geoffrey, I. M. ed. (1996) The Expression of Stasis: Deconstructivist subcultural theory in the works of Burroughs. Harvard University Press

8. Sargeant, Y. (1977) The cultural paradigm of expression in the works of Stone. Panic Button Books

The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator.

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.