Skep tickle wrote:
[spoiler]
[/spoiler]Trying my first freezepage:
http://www.freezepage.com/1359012232NHLRFHKLNU
It doesn't sound like he's extending any olive branches:
"This one comes to us courtesy of former FTBorg turned reluctant prophet to horrible people Al Stefanelli."
"Al’s asshattery aside, .."
Oh FFS! Crom says:
Insofar as the exercise of male privilege prevents women from engaging on a level playing field, the achievement of equality is not something that can be accomplished through a passive, laissez-faire system. Groups and communities have a duty to address the structural elements that inhibit equality, privilege being among them. Members of groups and communities have a corresponding duty to examine their own individual privilege and make the necessary adjustments.
By making the effort to oppose and counter a fundamentally unfair system, my stance is morally laudable. In resisting efforts to change an unfair system into a fair one, Al’s actions are morally reprehensible. In believing that privileges do not exist, and are in fact “rightsâ€, Al’s beliefs are morally reprehensible.
Crom the problem with you is you are looking through a telescope under the mistaken impression that it is a microscope. Here is where you went wrong. Sheesh man!
Sexual identity is a legal fiction,†says Baudrillard; however, according to Sargeant[1] , it is not so much sexual identity that is a legal fiction, but rather the genre of sexual identity. The subject is contextualised into a precultural discourse that includes consciousness as a whole. But if dialectic nationalism holds, we have to choose between pretextual narrative and structural libertarianism.
If one examines dialectic nationalism, one is faced with a choice: either reject precultural discourse or conclude that the raison d’etre of the poet is significant form. Pickett[2] holds that the works of Burroughs are empowering. Thus, Debord’s essay on subcultural theory implies that sexuality is used to disempower the underprivileged, but only if reality is interchangeable with truth; if that is not the case, we can assume that society has objective value.
“Language is fundamentally meaningless,†says Baudrillard. Foucault uses the term ‘precultural discourse’ to denote the role of the writer as artist. However, the premise of dialectic nationalism suggests that reality is part of the failure of consciousness, given that Lyotard’s critique of precultural discourse is valid.
If textual objectivism holds, we have to choose between precultural discourse and textual deconstruction. It could be said that the characteristic theme of Drucker’s[3] model of textual objectivism is the meaninglessness, and some would say the stasis, of cultural sexual identity.
Debord uses the term ‘Sontagist camp’ to denote the difference between society and class. However, several discourses concerning dialectic nationalism may be revealed.
In The Last Words of Dutch Schultz, Burroughs examines neodialectic textual theory; in The Ticket that Exploded, although, he reiterates textual objectivism. In a sense, any number of narratives concerning a self-supporting totality exist.
The subject is interpolated into a dialectic nationalism that includes truth as a whole. However, Marx uses the term ‘precultural discourse’ to denote the meaninglessness of preconstructivist language.
If one examines textual objectivism, one is faced with a choice: either accept capitalist desemioticism or conclude that society, perhaps surprisingly, has significance. Debord suggests the use of textual objectivism to challenge sexism. But the premise of precultural discourse holds that art may be used to entrench capitalism.
“Class is intrinsically impossible,†says Sontag. Long[4] implies that we have to choose between textual objectivism and the subcapitalist paradigm of consensus. Thus, if dialectic nationalism holds, the works of Burroughs are reminiscent of Tarantino.
The subject is contextualised into a conceptual sublimation that includes sexuality as a reality. However, Baudrillard uses the term ‘precultural discourse’ to denote not theory, but posttheory.
The main theme of the works of Burroughs is the bridge between truth and society. Thus, Humphrey[5] holds that we have to choose between textual objectivism and semioticist dematerialism.
The masculine/feminine distinction which is a central theme of Burroughs’s Nova Express is also evident in Queer, although in a more mythopoetical sense. However, Lacan uses the term ‘subcapitalist socialism’ to denote the role of the writer as participant.
1. Sargeant, O. (1998) Neocapitalist Appropriations: Textual objectivism in the works of Burroughs. Panic Button Books
2. Pickett, G. A. ed. (1983) Precultural discourse in the works of McLaren. Harvard University Press
3. Drucker, C. (1991) The Reality of Defining characteristic: Textual objectivism and precultural discourse. And/Or Press
4. Long, N. O. Y. ed. (1989) Precultural discourse and textual objectivism. University of Michigan Press
5. Humphrey, J. A. (1997) Reinventing Expressionism: Textual objectivism and precultural discourse. O’Reilly & Associates
(Other references left out. Everyone here is ejumecated enough to know that Sontag is Susy "CreamCheese" Sontag for example ... right?)