The postmodernism generator

[RHIZOMES]

http://www.elsewhere.org/pomo/

each time you refresh it's a new thing!


Modernist Deconstructions: Modernism and conceptual narrative

Stefan la Fournier
Department of English, University of North Carolina

R. Andreas Finnis
Department of Politics, University of Michigan


1. Expressions of dialectic

If one examines modernism, one is faced with a choice: either accept conceptual narrative or conclude that consciousness is fundamentally responsible for outdated perceptions of sexual identity. But Lacan suggests the use of neocapitalist textual theory to attack sexism. Derrida uses the term ‘conceptual narrative’ to denote the failure of postdialectic class.
“Sexual identity is part of the economy of art,” says Bataille. However, Lyotard’s critique of modernism implies that consensus must come from communication. Dietrich[1] (http://www.elsewhere.org/pomo/#fn1) states that we have to choose between neocapitalist textual theory and neocapitalist theory.
But a number of narratives concerning a mythopoetical paradox exist. The defining characteristic, and eventually the stasis, of modernism prevalent in Madonna’s Erotica is also evident in Sex.
Therefore, if neocapitalist textual theory holds, we have to choose between textual rationalism and Sartreist existentialism. Lyotard uses the term ‘conceptual narrative’ to denote the difference between society and reality.
In a sense, several theories concerning modernism may be discovered. The subject is interpolated into a neocapitalist textual theory that includes consciousness as a whole.
2. Modernism and subconstructive cultural theory

“Sexual identity is intrinsically unattainable,” says Sartre; however, according to Hubbard[2] (http://www.elsewhere.org/pomo/#fn2) , it is not so much sexual identity that is intrinsically unattainable, but rather the fatal flaw, and therefore the collapse, of sexual identity. But Geoffrey[3] (http://www.elsewhere.org/pomo/#fn3) holds that the works of Madonna are an example of self-referential nihilism. If conceptual narrative holds, we have to choose between textual capitalism and the premodern paradigm of expression.
If one examines conceptual narrative, one is faced with a choice: either reject modernism or conclude that government is part of the economy of art. Thus, the premise of subconstructive cultural theory implies that reality is capable of truth, given that sexuality is interchangeable with truth. Lacan promotes the use of modernism to read class.
The characteristic theme of the works of Madonna is the fatal flaw, and some would say the futility, of cultural consciousness. In a sense, an abundance of situationisms concerning the role of the reader as observer exist. Debord suggests the use of subconstructive cultural theory to deconstruct capitalism.
“Society is fundamentally responsible for class divisions,” says Bataille. Thus, the subject is contextualised into a neotextual capitalist theory that includes art as a reality. The primary theme of Parry’s[4] (http://www.elsewhere.org/pomo/#fn4) analysis of conceptual narrative is the bridge between sexual identity and society.
“Class is part of the paradigm of narrativity,” says Lacan; however, according to McElwaine[5] (http://www.elsewhere.org/pomo/#fn5) , it is not so much class that is part of the paradigm of narrativity, but rather the genre of class. In a sense, Sontag uses the term ‘presemiotic deconstruction’ to denote the meaninglessness, and eventually the stasis, of semanticist sexual identity. Geoffrey[6] (http://www.elsewhere.org/pomo/#fn6) states that we have to choose between conceptual narrative and Lacanist obscurity.
If one examines modernism, one is faced with a choice: either accept conceptual narrative or conclude that academe is meaningless. Thus, Sontag uses the term ’subconstructive cultural theory’ to denote the difference between society and art. In Naked Lunch, Burroughs affirms conceptual narrative; in The Last Words of Dutch Schultz, however, he reiterates subconstructive cultural theory.
The characteristic theme of the works of Burroughs is not appropriation per se, but subappropriation. However, postsemiotic narrative implies that expression is created by the masses, but only if the premise of subconstructive cultural theory is invalid; otherwise, we can assume that culture is intrinsically responsible for the status quo. The subject is interpolated into a dialectic precapitalist theory that includes narrativity as a paradox.
“Class is part of the failure of consciousness,” says Sartre; however, according to Dietrich[7] (http://www.elsewhere.org/pomo/#fn7) , it is not so much class that is part of the failure of consciousness, but rather the paradigm, and some would say the stasis, of class. It could be said that Sontag uses the term ‘modernism’ to denote the meaninglessness, and hence the futility, of postcapitalist society. The main theme of Brophy’s[8] (http://www.elsewhere.org/pomo/#fn8) critique of subconstructive cultural theory is the role of the writer as reader.
If one examines modernism, one is faced with a choice: either reject dialectic construction or conclude that the task of the observer is significant form. In a sense, if modernism holds, we have to choose between subconstructive cultural theory and Batailleist `powerful communication’. The primary theme of the works of Burroughs is the common ground between sexual identity and sexuality.
“Class is fundamentally elitist,” says Sartre; however, according to Prinn[9] (http://www.elsewhere.org/pomo/#fn9) , it is not so much class that is fundamentally elitist, but rather the stasis, and eventually the economy, of class. However, Debord promotes the use of modernism to analyse and read sexual identity. Bataille uses the term ‘conceptual narrative’ to denote the role of the artist as reader.
It could be said that many desemioticisms concerning modernism may be found. Hubbard[10] (http://www.elsewhere.org/pomo/#fn10) states that the works of Burroughs are postmodern.
But if subconstructive cultural theory holds, we have to choose between conceptual narrative and subcapitalist nationalism. Sontag’s analysis of modernism holds that class, surprisingly, has intrinsic meaning.
Therefore, the characteristic theme of Hanfkopf’s[11] (http://www.elsewhere.org/pomo/#fn11) essay on precultural objectivism is not theory, but subtheory. Sartre uses the term ‘conceptual narrative’ to denote the role of the poet as participant.
Thus, capitalist postdialectic theory implies that the establishment is capable of significance, given that language is equal to sexuality. In Heaven and Earth, Stone examines subconstructive cultural theory; in Platoon, although, he denies constructivist capitalism.
In a sense, a number of narratives concerning the genre, and some would say the rubicon, of subsemiotic sexual identity exist. Foucault suggests the use of conceptual narrative to challenge sexism.
But Parry[12] (http://www.elsewhere.org/pomo/#fn12) states that the works of Stone are reminiscent of Spelling. Derrida promotes the use of subconstructive cultural theory to attack class.
Thus, if modernism holds, we have to choose between conceptual narrative and prematerial discourse. Baudrillard suggests the use of modernism to deconstruct capitalism.
It could be said that the subject is contextualised into a subconstructive cultural theory that includes art as a totality. Lacan uses the term ‘capitalist neotextual theory’ to denote a mythopoetical whole.
But the destruction/creation distinction which is a central theme of Stone’s Natural Born Killers emerges again in Platoon, although in a more self-sufficient sense. Debord uses the term ‘conceptual narrative’ to denote the role of the writer as observer.
However, in Heaven and Earth, Stone examines cultural narrative; in JFK, however, he analyses modernism. Derrida’s critique of subconstructive cultural theory implies that discourse comes from communication.
Therefore, Sontag uses the term ‘conceptual narrative’ to denote the difference between sexual identity and society. The main theme of the works of Stone is the futility, and subsequent economy, of prepatriarchial class.
3. Stone and subconstructive cultural theory

In the works of Stone, a predominant concept is the distinction between without and within. It could be said that any number of appropriations concerning conceptual narrative may be revealed. Geoffrey[13] (http://www.elsewhere.org/pomo/#fn13) holds that we have to choose between modernism and cultural narrative.
“Sexual identity is part of the failure of culture,” says Sartre. Thus, the premise of conceptual narrative suggests that narrativity is capable of intentionality. Baudrillard promotes the use of modernism to modify and analyse class.
It could be said that the primary theme of von Ludwig’s[14] (http://www.elsewhere.org/pomo/#fn14) essay on subconstructive cultural theory is a subcapitalist totality. The subject is interpolated into a conceptual narrative that includes art as a reality.
Thus, a number of desublimations concerning the rubicon of constructive culture exist. Derrida suggests the use of modernism to attack sexist perceptions of society.
In a sense, the economy, and subsequent meaninglessness, of subconstructive cultural theory prevalent in Stone’s Natural Born Killers is also evident in Platoon. Sontag uses the term ‘modernism’ to denote a mythopoetical whole.
But Debord promotes the use of subconstructive cultural theory to challenge class. In JFK, Stone affirms modernism; in Natural Born Killers he denies conceptual narrative.


:laugh::laugh::laugh:

[Revy]

Reinventing Social realism: Capitalism and Baudrillardist simulacra

Martin R. A. Dietrich
Department of Peace Studies, Carnegie-Mellon University

N. Thomas Werther
Department of English, University of Massachusetts, Amherst


1. Stone and Baudrillardist simulacra

“Class is intrinsically impossible,” says Sartre. In a sense, if cultural predialectic theory holds, the works of Stone are an example of modern socialism. Bataille suggests the use of Baudrillardist simulacra to challenge sexual identity.
Thus, many theories concerning subcultural materialism exist. D’Erlette[1] (http://www.elsewhere.org/pomo/#fn1) implies that we have to choose between Baudrillardist simulacra and materialist discourse.
In a sense, the characteristic theme of Brophy’s[2] (http://www.elsewhere.org/pomo/#fn2) analysis of the dialectic paradigm of consensus is the role of the participant as artist. Foucault promotes the use of capitalism to deconstruct elitist perceptions of society.
2. Realities of fatal flaw

“Culture is unattainable,” says Bataille; however, according to Hubbard[3] (http://www.elsewhere.org/pomo/#fn3) , it is not so much culture that is unattainable, but rather the stasis, and therefore the absurdity, of culture. However, the subject is contextualised into a Marxist capitalism that includes narrativity as a totality. A number of desublimations concerning a self-falsifying whole may be revealed.
Therefore, in Jackie Brown, Tarantino reiterates the dialectic paradigm of consensus; in Pulp Fiction he deconstructs capitalism. The primary theme of the works of Tarantino is not discourse, but prediscourse.
Thus, Debord’s critique of the dialectic paradigm of consensus states that academe is capable of deconstruction. The characteristic theme of von Ludwig’s[4] (http://www.elsewhere.org/pomo/#fn4) analysis of textual subcapitalist theory is the difference between sexual identity and reality.
But Baudrillardist simulacra holds that truth is part of the failure of reality, but only if Foucault’s critique of capitalism is invalid; otherwise, we can assume that society, perhaps ironically, has intrinsic meaning. The subject is interpolated into a dialectic paradigm of consensus that includes language as a paradox.
3. Tarantino and Baudrillardist simulacra

If one examines capitalism, one is faced with a choice: either accept Baudrillardist simulacra or conclude that the task of the poet is social comment. Therefore, any number of narratives concerning the dialectic paradigm of consensus exist. Derrida suggests the use of the patriarchialist paradigm of context to read and modify class.
The primary theme of the works of Tarantino is the role of the observer as writer. In a sense, the subject is contextualised into a dialectic paradigm of consensus that includes art as a whole. If Baudrillardist simulacra holds, we have to choose between capitalism and neotextual nihilism.
In the works of Tarantino, a predominant concept is the distinction between within and without. It could be said that Bataille uses the term ‘the cultural paradigm of reality’ to denote the common ground between truth and class. A number of theories concerning a pretextual reality may be found.
The characteristic theme of Dietrich’s[5] (http://www.elsewhere.org/pomo/#fn5) essay on the dialectic paradigm of consensus is not deconstruction as such, but neodeconstruction. However, Baudrillardist simulacra implies that the Constitution is fundamentally impossible. The example of Lacanist obscurity intrinsic to Spelling’s The Heights emerges again in Beverly Hills 90210, although in a more self-justifying sense.
“Society is used in the service of sexism,” says Sartre. In a sense, any number of theories concerning the dialectic paradigm of consensus exist. The primary theme of the works of Spelling is the bridge between sexual identity and art.
“Class is part of the rubicon of language,” says Baudrillard; however, according to Bailey[6] (http://www.elsewhere.org/pomo/#fn6) , it is not so much class that is part of the rubicon of language, but rather the failure, and eventually the futility, of class. It could be said that Dietrich[7] (http://www.elsewhere.org/pomo/#fn7) holds that we have to choose between capitalism and textual presemioticist theory. In Models, Inc., Spelling reiterates Baudrillardist simulacra; in Robin’s Hoods, although, he denies the dialectic paradigm of consensus.
However, many appropriations concerning the role of the participant as reader may be discovered. The premise of Baudrillardist simulacra implies that truth is used to reinforce class divisions, given that reality is interchangeable with narrativity.
Therefore, the subject is interpolated into a dialectic narrative that includes language as a paradox. Sontag uses the term ‘capitalism’ to denote not, in fact, theory, but neotheory.
But the masculine/feminine distinction which is a central theme of Spelling’s Models, Inc. is also evident in Melrose Place. If Baudrillardist simulacra holds, we have to choose between Batailleist `powerful communication’ and substructuralist discourse.
It could be said that the characteristic theme of la Fournier’s[8] (http://www.elsewhere.org/pomo/#fn8) critique of the dialectic paradigm of consensus is the difference between sexual identity and society. Debord’s essay on capitalism holds that reality must come from the masses.
Therefore, the subject is contextualised into a Baudrillardist simulacra that includes consciousness as a whole. The main theme of the works of Smith is not construction, as Lacan would have it, but preconstruction.
But the subject is interpolated into a dialectic neotextual theory that includes reality as a totality. Marx promotes the use of the dialectic paradigm of consensus to challenge sexism.
It could be said that the characteristic theme of Drucker’s[9] (http://www.elsewhere.org/pomo/#fn9) critique of capitalism is a mythopoetical paradox. Long[10] (http://www.elsewhere.org/pomo/#fn10) suggests that the works of Smith are reminiscent of Burroughs.
Therefore, the subject is contextualised into a dialectic subtextual theory that includes culture as a totality. The main theme of the works of Madonna is not theory, but posttheory.
4. Baudrillardist simulacra and Derridaist reading

If one examines dialectic discourse, one is faced with a choice: either reject Baudrillardist simulacra or conclude that the purpose of the writer is deconstruction, but only if predeconstructivist narrative is valid. In a sense, if Derridaist reading holds, we have to choose between capitalism and structural postcapitalist theory. The subject is interpolated into a Derridaist reading that includes consciousness as a reality.
“Class is a legal fiction,” says Foucault; however, according to Long[11] (http://www.elsewhere.org/pomo/#fn11) , it is not so much class that is a legal fiction, but rather the economy, and thus the failure, of class. However, Marx uses the term ‘Lacanist obscurity’ to denote a self-referential whole. Humphrey[12] (http://www.elsewhere.org/pomo/#fn12) implies that we have to choose between Derridaist reading and subtextual capitalist theory.
If one examines Baudrillardist simulacra, one is faced with a choice: either accept Lacanist obscurity or conclude that sexual identity has objective value. But the premise of Derridaist reading holds that narrativity is intrinsically used in the service of class divisions. If postdialectic cultural theory holds, we have to choose between Baudrillardist simulacra and Sartreist existentialism.
The characteristic theme of Buxton’s[13] (http://www.elsewhere.org/pomo/#fn13) analysis of capitalism is the paradigm of dialectic class. It could be said that Lacan suggests the use of Lyotardist narrative to read society. A number of situationisms concerning Derridaist reading exist.
“Class is meaningless,” says Debord; however, according to Geoffrey[14] (http://www.elsewhere.org/pomo/#fn14) , it is not so much class that is meaningless, but rather the economy, and subsequent failure, of class. However, in Models, Inc., Spelling examines capitalism; in Melrose Place he reiterates Baudrillardist simulacra. The subject is contextualised into a postmodernist dialectic theory that includes reality as a paradox.
But Sargeant[15] (http://www.elsewhere.org/pomo/#fn15) states that the works of Spelling are an example of neodialectic libertarianism. The main theme of the works of Spelling is the role of the artist as poet.
However, Sontag uses the term ‘Baudrillardist simulacra’ to denote the absurdity of textual sexuality. If postcapitalist desublimation holds, we have to choose between Derridaist reading and conceptualist subtextual theory.
In a sense, Baudrillardist simulacra holds that consensus is a product of communication. The subject is interpolated into a capitalism that includes consciousness as a whole.
Therefore, Buxton[16] (http://www.elsewhere.org/pomo/#fn16) suggests that we have to choose between Derridaist reading and Derridaist reading. Baudrillard uses the term ‘capitalism’ to denote not materialism per se, but neomaterialism.
But Derrida promotes the use of Derridaist reading to deconstruct archaic perceptions of sexual identity. The subject is contextualised into a Baudrillardist simulacra that includes reality as a reality.
Therefore, the primary theme of Geoffrey’s[17] (http://www.elsewhere.org/pomo/#fn17) critique of semanticist discourse is the role of the writer as participant. Sartre uses the term ‘capitalism’ to denote not, in fact, narrative, but subnarrative.
5. Expressions of stasis

“Class is fundamentally used in the service of the status quo,” says Lyotard. Thus, the characteristic theme of the works of Rushdie is the common ground between sexual identity and consciousness. The subject is interpolated into a Baudrillardist simulacra that includes truth as a paradox.
It could be said that Foucault’s model of the preconstructive paradigm of narrative states that academe is capable of truth, but only if consciousness is distinct from language; otherwise, expression is created by the collective unconscious. If Baudrillardist simulacra holds, we have to choose between capitalism and cultural discourse.
Therefore, the main theme of Finnis’s[18] (http://www.elsewhere.org/pomo/#fn18) analysis of Baudrillardist simulacra is the role of the writer as poet. Brophy[19] (http://www.elsewhere.org/pomo/#fn19) suggests that we have to choose between subtextual material theory and poststructuralist feminism.
But Debord uses the term ‘Baudrillardist simulacra’ to denote the difference between sexual identity and society. The characteristic theme of the works of Gaiman is the role of the participant as artist.
6. Gaiman and Baudrillardist simulation

The main theme of Tilton’s[20] (http://www.elsewhere.org/pomo/#fn20) model of Derridaist reading is a mythopoetical totality. Therefore, the example of textual theory prevalent in Gaiman’s Sandman emerges again in Death: The Time of Your Life, although in a more neodialectic sense. The characteristic theme of the works of Gaiman is the genre, and eventually the collapse, of capitalist class.
It could be said that Baudrillardist simulacra implies that narrativity is elitist, given that the premise of capitalism is invalid. If Debordist image holds, we have to choose between capitalism and subcultural constructivist theory.
Therefore, the subject is contextualised into a Derridaist reading that includes truth as a whole. Derrida uses the term ‘neopatriarchial discourse’ to denote a mythopoetical reality.
7. Baudrillardist simulacra and dialectic theory

In the works of Gaiman, a predominant concept is the concept of precapitalist art. However, capitalism holds that sexual identity, somewhat surprisingly, has significance. Bataille uses the term ‘dialectic theory’ to denote the bridge between truth and society.
“Consciousness is intrinsically meaningless,” says Sartre; however, according to d’Erlette[21] (http://www.elsewhere.org/pomo/#fn21) , it is not so much consciousness that is intrinsically meaningless, but rather the futility, and therefore the dialectic, of consciousness. Therefore, Bataille’s critique of capitalism suggests that the significance of the reader is social comment. The subject is interpolated into a dialectic theory that includes art as a paradox.
Thus, Derrida uses the term ‘capitalism’ to denote a self-sufficient totality. Cameron[22] (http://www.elsewhere.org/pomo/#fn22) states that we have to choose between substructuralist narrative and capitalist situationism.
But many theories concerning the role of the artist as writer may be revealed. Sartre uses the term ‘capitalism’ to denote a mythopoetical whole.
It could be said that a number of narratives concerning the neosemanticist paradigm of consensus exist. The premise of capitalism implies that class has intrinsic meaning.
8. Narratives of collapse

If one examines dialectic theory, one is faced with a choice: either reject capitalism or conclude that the collective is part of the paradigm of reality, given that narrativity is equal to culture. Thus, if textual postdeconstructive theory holds, we have to choose between dialectic theory and dialectic appropriation. Bataille suggests the use of presemiotic deconceptualism to analyse and modify sexual identity.
It could be said that many discourses concerning not situationism, but neosituationism may be discovered. De Selby[23] (http://www.elsewhere.org/pomo/#fn23) states that we have to choose between dialectic theory and Sartreist absurdity.
But Foucault uses the term ’semanticist nihilism’ to denote the fatal flaw, and subsequent genre, of precultural language. Lyotard promotes the use of Baudrillardist simulacra to attack colonialist perceptions of class.
It could be said that Marx uses the term ‘dialectic theory’ to denote the common ground between sexual identity and consciousness. If capitalism holds, the works of Madonna are postmodern.
9. Madonna and Baudrillardist simulacra

“Society is a legal fiction,” says Bataille; however, according to Geoffrey[24] (http://www.elsewhere.org/pomo/#fn24) , it is not so much society that is a legal fiction, but rather the rubicon, and thus the meaninglessness, of society. In a sense, the primary theme of Bailey’s[25] (http://www.elsewhere.org/pomo/#fn25) model of dialectic theory is the collapse, and some would say the failure, of postcultural language. The subject is contextualised into a Baudrillardist simulacra that includes reality as a totality.
If one examines dialectic theory, one is faced with a choice: either accept dialectic discourse or conclude that the task of the poet is deconstruction. Therefore, the main theme of the works of Madonna is a subcultural whole. An abundance of theories concerning dialectic theory exist.
“Society is fundamentally unattainable,” says Marx. Thus, Porter[26] (http://www.elsewhere.org/pomo/#fn26) holds that we have to choose between Baudrillardist simulacra and postmodern desublimation. Capitalism suggests that narrativity is capable of significance.
In the works of Madonna, a predominant concept is the distinction between figure and ground. However, if capitalist subconceptual theory holds, we have to choose between dialectic theory and Baudrillardist hyperreality. Sontag uses the term ‘capitalism’ to denote the role of the observer as reader.
In a sense, any number of narratives concerning the bridge between sexual identity and society may be found. The subject is interpolated into a dialectic theory that includes consciousness as a totality.
Therefore, the ground/figure distinction depicted in Madonna’s Erotica is also evident in Material Girl. Lyotard uses the term ‘capitalism’ to denote not theory, but pretheory.
However, in Sex, Madonna analyses Baudrillardist simulacra; in Material Girl, although, she denies dialectic theory. Lacan suggests the use of cultural narrative to analyse narrativity.
Thus, the subject is contextualised into a capitalism that includes art as a whole. The collapse of dialectic theory which is a central theme of Madonna’s Erotica emerges again in Material Girl, although in a more mythopoetical sense.
It could be said that Debord uses the term ‘postmaterial theory’ to denote the difference between class and sexuality. The subject is interpolated into a capitalism that includes culture as a paradox.
But in Sex, Madonna reiterates Baudrillardist simulacra; in Material Girl she examines conceptualist subtextual theory. Many dematerialisms concerning Baudrillardist simulacra exist.
1. d’Erlette, U. ed. (1978) Capitalism in the works of Rushdie. O’Reilly & Associates
2. Brophy, F. H. (1985) Realities of Paradigm: Baudrillardist simulacra and capitalism. Yale University Press
3. Hubbard, L. ed. (1973) Baudrillardist simulacra in the works of Tarantino. Cambridge University Press
4. von Ludwig, E. O. (1981) Deconstructing Derrida: Capitalism, neocapitalist situationism and objectivism. O’Reilly & Associates
5. Dietrich, P. V. O. ed. (1997) Capitalism in the works of Spelling. University of Georgia Press
6. Bailey, K. (1983) Reassessing Surrealism: Capitalism in the works of McLaren. Schlangekraft
7. Dietrich, T. N. Y. ed. (1990) Capitalism and Baudrillardist simulacra. Loompanics
8. la Fournier, L. F. (1985) The Stasis of Expression: Capitalism in the works of Smith. University of Massachusetts Press
9. Drucker, T. ed. (1978) Baudrillardist simulacra and capitalism. Loompanics
10. Long, J. G. H. (1996) Deconstructing Modernism: Baudrillardist simulacra in the works of Madonna. And/Or Press
11. Long, Q. H. ed. (1988) Capitalism in the works of Madonna. University of Oregon Press
12. Humphrey, Y. Z. H. (1994) Forgetting Debord: Capitalism and Baudrillardist simulacra. And/Or Press
13. Buxton, Y. O. ed. (1987) Subsemantic dematerialism, objectivism and capitalism. Yale University Press
14. Geoffrey, R. J. Y. (1992) The Circular Sea: Baudrillardist simulacra in the works of Spelling. O’Reilly & Associates
15. Sargeant, W. P. ed. (1989) Baudrillardist simulacra and capitalism. Panic Button Books
16. Buxton, G. (1993) The Reality of Fatal flaw: Baudrillardist simulacra in the works of Rushdie. O’Reilly & Associates
17. Geoffrey, I. C. ed. (1976) Capitalism in the works of Koons. Loompanics
18. Finnis, M. E. G. (1990) Reassessing Constructivism: Capitalism in the works of Gaiman. And/Or Press
19. Brophy, L. O. ed. (1984) Capitalism and Baudrillardist simulacra. Oxford University Press
20. Tilton, Y. (1996) The Stone Door: Capitalism in the works of Madonna. Schlangekraft
21. d’Erlette, K. W. Y. ed. (1979) Baudrillardist simulacra in the works of Madonna. Panic Button Books
22. Cameron, K. (1995) Cultural Constructions: Baudrillardist simulacra and capitalism. Schlangekraft
23. de Selby, A. K. C. ed. (1987) Capitalism in the works of Mapplethorpe. O’Reilly & Associates
24. Geoffrey, W. R. (1995) The Reality of Failure: Capitalism, modernist subconceptual theory and objectivism. Harvard University Press
25. Bailey, L. ed. (1977) Capitalism and Baudrillardist simulacra. O’Reilly & Associates
26. Porter, Y. U. S. (1983) Contexts of Fatal flaw: Baudrillardist simulacra and capitalism. Schlangekraft

[bcbm]

i like the insurrectionary anarchist generator better...


Leaving passivity behind: Notes towards social war


To those who deride the inoperative joy in a burning dumpster or a smashed window, we propose nothing less than to shatter their pathetic absence, with every weapon at our disposal. In the construction of becomings, we reject those who would have us give up the singular ecstasy of rupture for the catastrophe of mobilization. Every barricaded hallway is a refusal to organize, a blow against the structure of liberalism, a recognition of the immanent logic inherent in the articulation of encounters. The compulsive normalization proposed to us is like a bad joke, and instead of laughter we respond with insurrection.


Our need to occupy everything is less the realization of a plan than the setting forth of an event. This is a call to indifference, not an insistence on fossilization of our desires. We must negate all totality—in secret. Confronted with those who fail to recognize themselves in our orgies of destruction, we offer neither criticism nor dialogue but only our contempt.


It is necessary to commence absolutely; not to dream of new ways to make demands, but to make manifest the subterranean desiring-bodies in the heart of each c-clamped pushbar. What's needed is not humanism, and even far less activism, but a putting-into-practice of radical zones of indistinction which need no justification, a rejection in all forms of the teleology of representation.