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.
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.
posted by Dave at 3:10 PM
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