Corona | Coming Attractions

And, at long last, the Lady GaGa thread spins wildly off-topic. We did it!

I meant deconstruct in the generic, buzzwordy sense, so maybe more like "investigate"? To pick apart while feeling postmodern, but probably with a maintained focus on some kind of meaning.

Talking about peens: the secret to the sudden success of feminist theory. And in about five or ten years, when the vaj becomes fully demystified, we'll be able to ride that one into my retirement!

This lacks any kind of coherence, so http://www.picturesforsadchildren.com/index.php?comicID=316

I think KingVoyeur's post was a wake-up call to all of us to get this thread off track.

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That strip, for some reason, reminded me of the following:

Some of you might have already seen this:
The Postmodernism Generator

The paper it randomly spit out for me was titled "Nationalism in the works of Tarantino."

That's beautiful.

Nationalism in the works of Tarantino
Linda A. la Tournier
Department of Gender Politics, Oxford University

1. The neocultural paradigm of expression and constructive postcultural theory

“Art is responsible for the status quo,” says Debord. Thus, the main theme of Tilton’s[1] model of neotextual constructivist theory is the common ground between class and sexuality.

“Society is fundamentally dead,” says Sontag; however, according to Drucker[2] , it is not so much society that is fundamentally dead, but rather the defining characteristic of society. If dialectic discourse holds, we have to choose between nationalism and the predialectic paradigm of reality. But the subject is interpolated into a constructive postcultural theory that includes consciousness as a reality.

The primary theme of the works of Tarantino is the meaninglessness, and subsequent futility, of cultural class. Buxton[3] holds that we have to choose between the presemantic paradigm of narrative and cultural desituationism. It could be said that if dialectic discourse holds, the works of Tarantino are reminiscent of Cage.

“Sexuality is a legal fiction,” says Foucault. Bailey[4] suggests that we have to choose between constructive postcultural theory and constructive construction. Thus, an abundance of theories concerning the bridge between sexual identity and consciousness exist.

In the works of Tarantino, a predominant concept is the distinction between opening and closing. If predialectic rationalism holds, we have to choose between nationalism and capitalist postdialectic theory. In a sense, the subject is contextualised into a Lyotardist narrative that includes narrativity as a totality.

The characteristic theme of Cameron’s[5] critique of nationalism is the genre, and hence the meaninglessness, of pretextual sexual identity. Baudrillard promotes the use of constructive postcultural theory to challenge sexism. But several narratives concerning dialectic discourse may be revealed.

“Culture is part of the stasis of narrativity,” says Sontag. The example of the cultural paradigm of expression intrinsic to Tarantino’s Pulp Fiction is also evident in Reservoir Dogs. It could be said that the main theme of the works of Tarantino is the difference between society and sexual identity.

In the works of Tarantino, a predominant concept is the concept of neocapitalist consciousness. Lyotard uses the term ‘constructive postcultural theory’ to denote the role of the reader as poet. In a sense, the subject is interpolated into a structuralist libertarianism that includes language as a reality.

The primary theme of Long’s[6] analysis of nationalism is the futility, and eventually the absurdity, of postcultural society. Thus, in Satyricon, Fellini affirms dialectic discourse; in Amarcord, however, he examines constructive postcultural theory.

The subject is contextualised into a capitalist theory that includes art as a paradox. However, the main theme of the works of Fellini is not, in fact, discourse, but neodiscourse.

Sartre suggests the use of dialectic discourse to read culture. But nationalism implies that truth is capable of deconstruction, but only if consciousness is equal to narrativity; if that is not the case, the task of the observer is social comment.

Lyotard promotes the use of predialectic patriarchialist theory to deconstruct capitalism. It could be said that the without/within distinction depicted in Fellini’s La Dolce Vita emerges again in 8 1/2, although in a more self-sufficient sense.

Debord uses the term ‘constructive postcultural theory’ to denote the role of the reader as artist. Thus, the subject is interpolated into a nationalism that includes language as a reality.

The premise of subtextual theory holds that consciousness may be used to entrench sexism. But many situationisms concerning not narrative, as dialectic discourse suggests, but neonarrative exist.

Sartre suggests the use of dialectic feminism to attack and modify class. Therefore, the primary theme of Geoffrey’s[7] model of nationalism is the collapse, and subsequent genre, of textual society.

Marx uses the term ‘dialectic discourse’ to denote the common ground between art and class. In a sense, the subject is contextualised into a nationalism that includes consciousness as a totality.

Hamburger[8] states that the works of Fellini are an example of mythopoetical objectivism. Therefore, Debord promotes the use of constructive postcultural theory to deconstruct capitalism.

2. Expressions of economy

The characteristic theme of the works of Fellini is the stasis, and some would say the meaninglessness, of dialectic society. If Sartreist absurdity holds, we have to choose between constructive postcultural theory and neomodern feminism. It could be said that a number of dematerialisms concerning dialectic discourse may be found.

In the works of Fellini, a predominant concept is the distinction between opening and closing. Sontag’s analysis of constructive postcultural theory holds that the law is capable of intentionality. In a sense, the primary theme of Porter’s[9] model of dialectic discourse is the role of the observer as participant.

“Sexual identity is intrinsically meaningless,” says Marx; however, according to Hubbard[10] , it is not so much sexual identity that is intrinsically meaningless, but rather the paradigm of sexual identity. The subject is interpolated into a constructive postcultural theory that includes sexuality as a reality. But d’Erlette[11] suggests that we have to choose between the dialectic paradigm of consensus and neocultural desituationism.

In Satyricon, Fellini analyses nationalism; in 8 1/2, although, he affirms Marxist socialism. It could be said that if dialectic discourse holds, we have to choose between constructive postcultural theory and semiotic patriarchialism.

Many desublimations concerning the fatal flaw, and subsequent dialectic, of predialectic culture exist. Thus, Debord suggests the use of nationalism to analyse society.

Constructive postcultural theory states that narrative must come from the masses, but only if the premise of the cultural paradigm of expression is valid; otherwise, we can assume that narrativity is part of the genre of sexuality. Therefore, la Fournier[12] holds that the works of Fellini are not postmodern.

If dialectic discourse holds, we have to choose between constructive postcultural theory and the cultural paradigm of discourse. Thus, in Amarcord, Fellini reiterates nationalism; in Satyricon he analyses constructive postcultural theory.

La Fournier[13] implies that we have to choose between dialectic discourse and the neodeconstructive paradigm of narrative. It could be said that the dialectic, and some would say the fatal flaw, of Derridaist reading which is a central theme of Fellini’s 8 1/2 is also evident in La Dolce Vita.
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1. Tilton, L. ed. (1998) The Discourse of Failure: Socialism, nationalism and modern deconstruction. And/Or Press

13. la Fournier, M. ed. (1986) Reassessing Socialist realism: Nationalism and dialectic discourse. O’Reilly & Associates

You know, there's more pretentious music out there than Lady Gaga's music. There's Vijay Iyer. He and his trio put out an album called Historicity. He also recorded pieces called "Questions of Agency" and "Imagined Nations." If you're wondering whether or not the academic community creamed itself when it saw there was a musical piece referencing Benedict Anderson's Imagined Communities, then you don't know the academic community all that well.

Iyer also makes a point of covering standards, like Lennon's "Imagine" (in his particular Philip Glass-y way) and "Hey Joe," along with recent art rap hits, like M.I.A.'s "Galang." This frees him up to claim that he's not so pretentious, and that he can be as "pop" as the next free-former.

Don't be surprised if he decides to cover a Miley Cyrus or Avril Lavigne song, insists he's not being ironic, and says something about their music being overlooked by so-and-so because it is seen to be too such-and-such.

The more I go off about these things, the more I make myself seem like a bitter fuck.

Hmm... I'm getting an idea for a concept album titled "The Long Nineteenth Century."

Edit: No, no. Make that "Iggy Astroflake and the Long Nineteenth Century."

I just added Benedict Anderson and Eric Hobsbawm to my list.

[Jack being Thurstyesque]insert words here[/ironic]

Bad code.

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Is it a micro-brewery by any chance?

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I had a bad experience with homebrew once, when I was at University.

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It was my fault. The thought process was, if sugar turns to alcohol whilst brewing, then sugar + more sugar = more alcohol = beer full of win.

Never underestimate home brewed beer can cause to furniture when added to a student when the homebrew has been lurking in an airing cupboard for a significant amount of time.

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My dad made homebrew once. It tasted like rotting bread mash. Without the large equipment available to breweries, this is what happens when you try to ferment something, because YOU ARE NOT SUPPOSED TO EAT THINGS THAT HAVE BEEN ROTTING.

I expect he wasn't doing it right. There are a bunch of homebrewers who are very happy with their results. I'd murder a beer right now.

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Dude, WTF?
Really. W? T? F?!