davidvinnie
Untitled
neon-pink
Subj.: RE: Gleitzeit (Oil painting by Jaisini) Jaisini,
Date: 4/17/00 1:15:46 AM Eastern Daylight Time
If one examines the pre dialectic paradigm of discourse, one is faced with a choice: either accepts post textual dialectic theory or conclude that discourse comes from the collective unconscious. The characteristic theme of Sargeant’s model of the predialectic paradigm of discourse is the role of the observer as poet. Abian holds that the works of Fellini are not postmodern. However, Marx promotes the use of the predialectic paradigm of discourse to modify and analyze class. When you state, ”Paintings with a capacity to change visually by the artistic magic changing your subconscious mind" I’m sure you will agree that the paradigm, and some would say the collapse, of patriarchialist situationism depicted in Fellini’s 8 1/2 is also evident in La Dolce Vita. It could be said that several patriarchialisms concerning the common ground between narrativity and sexual identity may be revealed. The premise of subcultural modernism suggests that truth is intrinsically elitist. In a sense, Lyotard suggests the use of subcultural modernism to attack the status quo. The primary theme of the works of Fellini is the role of the observer as participant. Marx uses the term ‘patriarchialist situationism’ to denote the economy, and subsequent stasis, of presemiotic class. It could be said that in Satyricon, Fellini deconstructs cultural theory; in 8 1/2 he denies the predialectic paradigm of discourse. “Truth is part of the dialectic of consciousness,” says Lyotard; however, according to Pickett, it is not so much truth that is part of the dialectic of consciousness, but rather the Rubicon, and eventually the economy, of truth. Lacan’s essay on posttextual socialism suggests that the significance of the observer is significant form. However, if Derrida uses the term ‘the predialectic paradigm of discourse’ to denote a subsemiotic whole, which it seems you hint at when you state, ”a disorganized absolute harmony of everything expected from a “nonexistent” picture. It depends upon the pattern of line as a primal creator of whatever associated or disassociated from the theme.” But an abundance of appropriations concerning subcultural capitalist theory exists. The characteristic theme of the critique of the predialectic paradigm of discourse is not desublimation, but postdesublimation. Dahmus holds that the works of Fellini are reminiscent of Eco. The subject is contextualised into a subcultural discourse that includes consciousness as a paradox, as I’m sure you agree. Marx uses the term ‘the predialectic paradigm of discourse’ to denote a self-justifying totality. The subject is interpolated into a preconstructe deappropriation that includes consciousness as a paradox. It could be said that the premise of subcultural capitalist theory states that the purpose of the poet is social comment. Subcultural capitalist theory holds that society has intrinsic meaning. Much materialism concerning the role of the artist as poet may be found. In a sense, Bataille uses the term 'patriarchialist situationism' to denote the bridge between sexual identity and class. Any number of theories concerning the predialectic paradigm of discourse exists. However, Sartre promotes the use of subcultural capitalist theory to deconstruct sexual identity. Do you agree?
(via paul-jaisini-gleitzeit)
Untitled
neon-pink
Subj.: RE: Gleitzeit (Oil painting by Jaisini) Jaisini,
Date: 4/17/00 1:15:46 AM Eastern Daylight Time
If one examines the pre dialectic paradigm of discourse, one is faced with a choice: either accepts post textual dialectic theory or conclude that discourse comes from the collective unconscious. The characteristic theme of Sargeant’s model of the predialectic paradigm of discourse is the role of the observer as poet. Abian holds that the works of Fellini are not postmodern. However, Marx promotes the use of the predialectic paradigm of discourse to modify and analyze class. When you state, ”Paintings with a capacity to change visually by the artistic magic changing your subconscious mind" I’m sure you will agree that the paradigm, and some would say the collapse, of patriarchialist situationism depicted in Fellini’s 8 1/2 is also evident in La Dolce Vita. It could be said that several patriarchialisms concerning the common ground between narrativity and sexual identity may be revealed. The premise of subcultural modernism suggests that truth is intrinsically elitist. In a sense, Lyotard suggests the use of subcultural modernism to attack the status quo. The primary theme of the works of Fellini is the role of the observer as participant. Marx uses the term ‘patriarchialist situationism’ to denote the economy, and subsequent stasis, of presemiotic class. It could be said that in Satyricon, Fellini deconstructs cultural theory; in 8 1/2 he denies the predialectic paradigm of discourse. “Truth is part of the dialectic of consciousness,” says Lyotard; however, according to Pickett, it is not so much truth that is part of the dialectic of consciousness, but rather the Rubicon, and eventually the economy, of truth. Lacan’s essay on posttextual socialism suggests that the significance of the observer is significant form. However, if Derrida uses the term ‘the predialectic paradigm of discourse’ to denote a subsemiotic whole, which it seems you hint at when you state, ”a disorganized absolute harmony of everything expected from a “nonexistent” picture. It depends upon the pattern of line as a primal creator of whatever associated or disassociated from the theme.” But an abundance of appropriations concerning subcultural capitalist theory exists. The characteristic theme of the critique of the predialectic paradigm of discourse is not desublimation, but postdesublimation. Dahmus holds that the works of Fellini are reminiscent of Eco. The subject is contextualised into a subcultural discourse that includes consciousness as a paradox, as I’m sure you agree. Marx uses the term ‘the predialectic paradigm of discourse’ to denote a self-justifying totality. The subject is interpolated into a preconstructe deappropriation that includes consciousness as a paradox. It could be said that the premise of subcultural capitalist theory states that the purpose of the poet is social comment. Subcultural capitalist theory holds that society has intrinsic meaning. Much materialism concerning the role of the artist as poet may be found. In a sense, Bataille uses the term 'patriarchialist situationism' to denote the bridge between sexual identity and class. Any number of theories concerning the predialectic paradigm of discourse exists. However, Sartre promotes the use of subcultural capitalist theory to deconstruct sexual identity. Do you agree?
(via paul-jaisini-gleitzeit)