Goofball: Sorry, there was a speako in my last message. I should have said that MikeBurnFire shouldn't have been on the list of probable
bad
hangings. In other words, he's not confirmed innocent.
As I understood it, when Com Am made his list with only one good hanging, he included MikeBurnFire on the list because he thought MBF had auditioned. But if you look closely at MBF's audition attempt, you'll notice that his lines are (deliberately) wrong. So Com Am later corrected himself, saying that MBF should
not
have been on the list. He belongs on the Goofball-Fiasco-Fritzler-Pooky-Seol-Vitamin list instead.
Fritzler, you're not following CA's nominations, because as far as I know he never nominated me.
Today's random verbose gibbericious filler text is brought to you mostly by the Postmodernism Generator! Yay! Fun! (Can be ignored safely.)
***
THE RUBICON OF SEXUAL IDENTITY: FRITZLERIST SITUATION IN THE WORKS OF PETROLEUMJELLY
1. Discourses of failure
"Art is part of the collapse of language," says Mathcam; however, according to Tamuz[1] , it is not so much art that is part of the collapse of language, but rather the defining characteristic, and eventually the stasis, of art. The subject is interpolated into a postdialectic paradigm of expression that includes sexuality as a reality. Thus, DrippingGoofball suggests the use of capitalist deappropriation to modify sexual identity.
Kelly Chen[2] implies that we have to choose between Fritzlerist situation and conceptualist presemantic theory. But Mathcam promotes the use of materialist situationism to attack hierarchy.
If capitalist deappropriation holds, the works of Thok are postmodern. Therefore, MikeBurnFire suggests the use of materialist situationism to read and analyse class.
2. Capitalist deappropriation and posttextual nationalism
If one examines posttextual nationalism, one is faced with a choice: either accept capitalist deappropriation or conclude that consciousness is a legal fiction, given that language is distinct from culture. The subject is contextualised into a Fritzlerist situation that includes art as a totality. Thus, LoudmouthLee uses the term ‘DrippingGoofballist hyperreality’ to denote not, in fact, narrative, but subnarrative.
"Society is part of the absurdity of consciousness. Popity popity pope. Et tu, Fernando Poo? Et tu, Seol, Kelly Chen? Scary and perplexing," says LoudmouthLee. The Silent Speaker promotes the use of capitalist deappropriation to deconstruct colonialist perceptions of sexual identity. But a number of discourses concerning posttextual nationalism may be discovered.
"Truth is unattainable," says MikeBurnFire; however, according to Commodore Amazing[3] , it is not so much truth that is unattainable, but rather the rubicon, and hence the stasis, of truth. In
I Don't Know, I Don't Know
, Thok examines capitalist deappropriation; in
Et Tu, Rasputin
, although, he analyses Fritzlerist situation. Thus, VitaminR[4] states that we have to choose between posttextual nationalism and DrippingGoofballist simulacra.
"Class is intrinsically impossible," says MikeBurnFire; "Voltage Meters like Verbose Mafia," counters SpamWise. The subject is interpolated into a capitalist deappropriation that includes consciousness as a whole. It could be said that Adele suggests the use of posttextual nationalism to challenge reality.
The economy of capitalist rationalism prevalent in Cogito Ergo Sum’s
Then Fall, Adele, Pursued by a Magical Bear
is also evident in
More Et Tu, Werebear, With Less Art
, and indeed even in
Et Tu, VitaminR? Then Prevent a Bad Marriage, MikeBurnFire
, although in a more substructuralist sense. Thus, several narratives concerning the role of the writer as reader exist.
The main theme of Werebear’s[5] critique of capitalist deappropriation is not discourse per se, but postdiscourse. In a sense, if Fritzlerist situation holds, we have to choose between capitalist deappropriation and textual LoudmouthLeeism.
Fritzler promotes the use of neosemiotic materialism to deconstruct the status quo. Therefore, Fiasco[6] holds that the works of Cogito Ergo Sum are not postmodern.
The Silent Speaker suggests the use of capitalist deappropriation to modify and challenge sexual identity. However, it could be said that Mathcam uses the term ‘Fritzlerist situation’ to denote the collapse, and therefore the paradigm, of postpatriarchialist art.
The example of capitalist deappropriation which is a central theme of Cogito Ergo Sum’s
Tamuz, I Am Gone Forever! Giggity Giggity Goo!
emerges again in
Hammah!
. In a sense, Seol promotes the use of Fritzlerist situation to attack outmoded, elitist perceptions of society.
3. Cogito Ergo Sum and capitalist deappropriation
"Class is elitist, lol," says Fritzler; however, according to BabyJesus[7] , it is not so much class that is elitist, but rather the fatal flaw, and some would say the paradigm, of class. If Fritzlerist situation holds, we have to choose between The Silent Speakerist `powerful communication’ and the subcapitalist paradigm of discourse. Therefore, the primary theme of the works of Cogito Ergo Sum is not narrative, but prenarrative.
Posttextual nationalism suggests that sexual identity has intrinsic meaning. However, the characteristic theme of Commodore Amazing’s[8] model of Fritzlerist situation is a self-fulfilling paradox.
MikeBurnFire’s essay on dialectic discourse states that the collective is capable of intentionality. We may construe InternetStranger[9] as holding that we have to choose between Fritzlerist situation and Mathcamist reading.
Many deconstructions concerning capitalist deappropriation may be found. Thus, in
A Portrait of the Artist As a Young Bear
, PookyTheMagicalBear affirms posttextual nationalism; in
Turbovolver’s Wake
he analyses Fritzlerist situation.
4. Realities of genre
In the works of PookyTheMagicalBear, a predominant concept is the concept of subcapitalist narrativity. The main theme of the works of PookyTheMagicalBear is the rubicon of textual society. In a sense, the without/within distinction intrinsic to PookyTheMagicalBear’s
Buy My Car Or Burn
is also evident in
A Portrait of the Artist As a Young Bear
, although in a more mythopoetical sense.
The characteristic theme of Phoebus’s[10] critique of capitalist deappropriation is a self-sufficient whole. Posttextual nationalism states that sexual identity, perhaps paradoxically, has objective value. However, if DrippingGoofballist simulation holds, we have to choose between posttextual nationalism and capitalist materialism.
Any number of narratives concerning the role of the observer as reader exist. Thus, SpamWise[11] implies that we have to choose between subcultural objectivism and capitalist discourse.
The Silent Speaker’s analysis of capitalist deappropriation suggests that art is used to exploit minorities, given that the pretextual paradigm of discourse is invalid. Therefore, many constructivisms concerning capitalist deappropriation may be revealed.
If posttextual nationalism holds, the works of Cogito Ergo Sum are modernistic. Thus, the subject is contextualised into a cultural narrative that includes language as a paradox.
Seol suggests the use of posttextual nationalism to read society. Therefore, the subject is interpolated into a capitalist deappropriation that includes narrativity as a totality.
(references omitted)
"I beseech you, in the bowels of Christ, think it possible you may be mistaken." - Oliver Cromwell