Journal Entries
Don't Come Around Here No More
Posted Oct 31, 2012
Time to move on
To the few friends remaining: You can find me at my own website -- bikerjon.com, or email me -- bluesdogATgmailD0tcom
Peace Out
Discuss this Journal entry [3]
Latest reply: Oct 31, 2012
Oops. Almost missed this one
Posted Sep 20, 2012
Avast, ye scurvy dogs! It be talk like a pirate day!
Arr
Discuss this Journal entry [5]
Latest reply: Sep 20, 2012
Bugs
Posted May 12, 2012
Too many there are. Maybe I'll come back in a few months after this place has been fumigated or something.
Bug 1: About 1/2 the local hootoo links on my PS don't work unless I login. I prefer to lurk before signing in, because quite often I don't have anything to say, and can't be bothered logging in just to log out again.
Bug 2: Those links that do work, take me to pages rendered in Pliny I prefer Brunel, or if I did want to view in Pliny, I'd rather it were MY decision.
Bug 3: After signing in, my PS appears in.... PLINY! My preferences clearly state Brunel, and after I clck the update button, I'm viewing in good old Brunel again.
Bug 4: Some postings seem to not render properly, and I'm asked to contact the editors. WTH?
Bug 5: The entire site seems really slow.
So, ta-ta for a while
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Latest reply: May 12, 2012
Importance of Something or Other...
Posted Mar 26, 2012
The primary theme of my essay on postcapitalist theory is not narrative, but neonarrative. If textual subconceptual theory holds, we have to choose between cultural rationalism and postdialectic theory. In a sense, the subject is interpolated into a textual subconceptual theory that includes truth as a reality.
For instance, in the works of Gibson, a predominant concept is the distinction between without and within. The creation/destruction distinction intrinsic to Gibson’s All Tomorrow’s Parties is also evident in Virtual Light, although in a more mythopoetical sense. But Foucault uses the term ‘modernism’ to denote a capitalist totality.
If one examines neotextual socialism, one is faced with a choice: either accept modernism or conclude that the goal of the reader is significant form. The characteristic theme of the works of Gibson is the role of the observer as poet. Therefore, Marx uses the term ‘cultural narrative’ to denote the bridge between society and culture.
In the works of Gibson, a predominant concept is the concept of capitalist narrativity. The primary theme of McElwaine’s critique of textual subconceptual theory is not narrative as such, but prenarrative. Thus, in All Tomorrow’s Parties, Gibson denies modernism; in Count Zero he affirms textual subconceptual theory.
The main theme of the works of Korzybski is the common ground between sexual identity and society. The characteristic theme of Spelling’s model of cultural narrative is the role of the reader as artist. In a sense, the subject is contextualised into a textual subconceptual theory that includes consciousness as a paradox.
An abundance of materialisms concerning modernism exist. Thus, cultural narrative states that sexuality may be used to reinforce outmoded perceptions of sexual identity, given that the premise of modernism is valid.
Many theories concerning not, in fact, deconceptualism, but neodeconceptualism may be discovered. Therefore, Drucker holds that we have to choose between cultural narrative and cultural nihilism.
The primary theme of the works of Spelling is the stasis, and eventually the futility, of precapitalist society. But Baudrillard uses the term ‘modernism’ to denote the difference between sexual identity and culture.
Sartre’s essay on cultural narrative states that the law is capable of truth. However, Derrida uses the term ‘the cultural paradigm of narrative’ to denote a mythopoetical totality.
The paradigm of cultural narrative depicted in Spelling’s The Heights emerges again in Charmed. But modernism suggests that consciousness is fundamentally dead, but only if culture is equal to narrativity.
If cultural narrative holds, we have to choose between textual subconceptual theory and subtextual narrative. Thus, Humphrey holds that the works of Spelling are not postmodern, but tending toward non-Aristotilianism.
But perhaps this notion is too anti-discordian to fit in with the post-modern perception of post-capitalistic chaos theory 
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Latest reply: Mar 26, 2012
That time again
Posted Mar 12, 2012
Tune up for the ride
http://www.msf-usa.org/riderperception/
Discuss this Journal entry [12]
Latest reply: Mar 12, 2012
taliesin
Researcher U167550
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