Postmodernism Essay Generator

We had great discussion about linguistic bullshit over the last few weeks, and here’s something else you might like.

This is an essay produced automatically by the Postmodernism Generator. It’s completely meaningless.

Read it (or don’t) and enjoy.  If you need to impress a bunch of empty-headed pseuds or pretentious academics, and you’d like to generate your own meaningless post-modernist essay, go HERE.

Why not also have a look at the Instant Art Critique Phrase Generator and the Artist Statement Generator.

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The cultural paradigm of expression in the works of Mapplethorpe

Catherine de Selby
Department of English, University of Illinois

Jean-Michel T. McElwaine
Department of Future Studies, Stanford University

1. Consensuses of stasis

“Society is intrinsically unattainable,” says Derrida. Several narratives concerning precapitalist socialism exist. Thus, in Vineland, Pynchon affirms the cultural paradigm of expression; in The Crying of Lot 49 he reiterates postdialectic libertarianism.

The characteristic theme of the works of Pynchon is a mythopoetical reality. The cultural paradigm of expression holds that narrativity is used to oppress the Other. In a sense, Debord uses the term ‘postdialectic libertarianism’ to denote not deconstruction, but neodeconstruction.

If one examines the cultural paradigm of expression, one is faced with a choice: either reject precapitalist socialism or conclude that reality comes from the masses. Lacan promotes the use of the modernist paradigm of discourse to deconstruct outdated perceptions of sexual identity. It could be said that if postdialectic libertarianism holds, we have to choose between postcultural sublimation and Sontagist camp.

The subject is contextualised into a postdialectic libertarianism that includes reality as a totality. Therefore, the primary theme of Pickett’s[1] model of semiotic theory is the difference between society and language.

The subject is interpolated into a precapitalist socialism that includes truth as a whole. But Lacan uses the term ‘postdialectic libertarianism’ to denote the role of the writer as observer.

Tilton[2] suggests that we have to choose between dialectic capitalism and the precapitalist paradigm of reality. Therefore, if precapitalist socialism holds, the works of Fellini are postmodern.

The subject is contextualised into a cultural paradigm of expression that includes consciousness as a paradox. It could be said that Derrida uses the term ‘cultural neodialectic theory’ to denote the stasis of textual class.

2. Fellini and postdialectic libertarianism

“Reality is impossible,” says Sontag; however, according to Drucker[3] , it is not so much reality that is impossible, but rather the paradigm, and some would say the defining characteristic, of reality. Lacan suggests the use of the structuralist paradigm of narrative to read class. However, Sartre’s analysis of postdialectic libertarianism implies that consciousness is capable of significance.

Foucault promotes the use of precapitalist socialism to challenge class divisions. In a sense, the subject is interpolated into a postdialectic libertarianism that includes art as a reality.

Debord uses the term ‘precapitalist socialism’ to denote not discourse per se, but prediscourse. Therefore, Pickett[4] holds that we have to choose between subtextual desublimation and cultural rationalism.

Baudrillard uses the term ‘the cultural paradigm of expression’ to denote the role of the poet as reader. It could be said that the main theme of the works of Eco is the rubicon, and subsequent collapse, of neocapitalist society.

3. Realities of futility

“Sexual identity is part of the collapse of culture,” says Foucault. The subject is contextualised into a postdialectic libertarianism that includes sexuality as a whole. In a sense, a number of narratives concerning a self-justifying reality may be revealed.

In the works of Eco, a predominant concept is the distinction between without and within. If precapitalist socialism holds, we have to choose between the cultural paradigm of expression and the conceptualist paradigm of consensus. However, the subject is interpolated into a postdialectic libertarianism that includes art as a paradox.

The primary theme of Sargeant’s[5] model of subtextual desituationism is the role of the participant as observer. The cultural paradigm of expression suggests that culture, somewhat ironically, has intrinsic meaning, given that the premise of precapitalist socialism is valid. It could be said that Debord suggests the use of the cultural paradigm of expression to modify and deconstruct society.

The subject is contextualised into a precapitalist socialism that includes art as a totality. Therefore, Foucault promotes the use of postdialectic libertarianism to attack outmoded, elitist perceptions of language.

Sontag’s critique of posttextual appropriation states that the Constitution is fundamentally elitist. It could be said that the characteristic theme of the works of Stone is not, in fact, theory, but neotheory.

Postdialectic libertarianism suggests that art may be used to reinforce capitalism. But Bataille uses the term ‘the cultural paradigm of expression’ to denote the fatal flaw, and some would say the absurdity, of capitalist sexual identity.

In Platoon, Stone affirms precapitalist socialism; in JFK, however, he deconstructs the postcultural paradigm of consensus. Therefore, the main theme of von Ludwig’s[6] essay on precapitalist socialism is the role of the poet as writer.

Wilson[7] states that we have to choose between postdialectic libertarianism and constructivist narrative. In a sense, Marx suggests the use of the pretextual paradigm of context to read society.

4. The cultural paradigm of expression and capitalist discourse

“Class is used in the service of hierarchy,” says Baudrillard. If precapitalist socialism holds, we have to choose between Marxist class and neocultural socialism. Thus, the primary theme of the works of Eco is the bridge between society and narrativity.

“Society is part of the collapse of reality,” says Bataille; however, according to Abian[8] , it is not so much society that is part of the collapse of reality, but rather the meaninglessness, and eventually the collapse, of society. Lacan’s analysis of capitalist discourse holds that language is capable of intentionality. It could be said that the example of the semiotic paradigm of expression which is a central theme of Eco’s The Limits of Interpretation (Advances in Semiotics) is also evident in The Name of the Rose, although in a more mythopoetical sense.

Capitalist discourse suggests that context is a product of the collective unconscious, given that culture is equal to language. Thus, Sontag uses the term ‘postcultural theory’ to denote not sublimation as such, but subsublimation.

The premise of precapitalist socialism states that sexuality serves to disempower minorities. Therefore, the characteristic theme of Brophy’s[9] essay on capitalist discourse is a postdialectic reality.

Any number of deconstructions concerning cultural neomaterialist theory exist. It could be said that in Foucault’s Pendulum, Eco examines the cultural paradigm of expression; in The Limits of Interpretation (Advances in Semiotics) he reiterates Batailleist `powerful communication’.

An abundance of appropriations concerning the economy, and some would say the meaninglessness, of dialectic class may be found. But the failure, and hence the economy, of precapitalist socialism intrinsic to Eco’s The Aesthetics of Thomas Aquinas emerges again in The Limits of Interpretation (Advances in Semiotics).

5. Eco and presemioticist socialism

If one examines capitalist discourse, one is faced with a choice: either accept the cultural paradigm of expression or conclude that the State is intrinsically meaningless, but only if precapitalist socialism is invalid; if that is not the case, Sontag’s model of capitalist discourse is one of “the textual paradigm of context”, and thus part of the stasis of art. Many narratives concerning precapitalist socialism exist. Therefore, Porter[10] implies that we have to choose between the cultural paradigm of expression and subdialectic materialism.

The primary theme of the works of Pynchon is a self-supporting whole. But the subject is interpolated into a patriarchial postmaterialist theory that includes sexuality as a reality.

In Gravity’s Rainbow, Pynchon examines the cultural paradigm of expression; in The Crying of Lot 49, however, he analyses capitalist discourse. Thus, the characteristic theme of Brophy’s[11] model of cultural neocapitalist theory is the failure, and eventually the meaninglessness, of patriarchialist narrativity.

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1. Pickett, Z. S. (1989) The Genre of Consciousness: Precapitalist socialism in the works of Fellini. Loompanics

2. Tilton, R. ed. (1997) Neopatriarchialist deconstruction, the cultural paradigm of expression and Marxism. Oxford University Press

3. Drucker, L. K. (1989) The Expression of Futility: The cultural paradigm of expression and precapitalist socialism. Yale University Press

4. Pickett, M. A. D. ed. (1997) Precapitalist socialism in the works of Eco. Panic Button Books

5. Sargeant, B. T. (1976) The Stasis of Class: The cultural paradigm of expression in the works of Stone. Cambridge University Press

6. von Ludwig, D. E. K. ed. (1989) Precapitalist socialism and the cultural paradigm of expression. O’Reilly & Associates

7. Wilson, F. (1972) The Economy of Narrative: Precapitalist socialism in the works of Eco. Schlangekraft

8. Abian, P. E. B. ed. (1990) The cultural paradigm of expression and precapitalist socialism. O’Reilly & Associates

9. Brophy, E. C. (1976) The Expression of Defining characteristic: Precapitalist socialism and the cultural paradigm of expression. Loompanics

10. Porter, Q. ed. (1984) Precapitalist socialism in the works of Pynchon. Schlangekraft

11. Brophy, Z. O. B. (1978) Consensuses of Fatal flaw: The cultural paradigm of expression, Marxism and Foucaultist power relations. And/Or Press

Related

Like the postmodernism generator, but funnier

Good news for pomophobes, Julian Baggini has a new game poking fun at certain critical postures in academia: Žižuku. I much prefer this to the postmodernism generator as a satirical tool.

The postmodernism generator is something that follows language rules to produce gibberish. This is funny, so long as you don’t read the sort of material that it purports to send up. I’m not saying that a lot of postmodernism isn’t twaddle, but it’s a recognisably different sort of twaddle. The reason Sokal’s hoax was funny was that it was indistinguishable from some of the straight material in Social Text. Essays from the postmodernism generator aren’t going to pass muster with another journal, even if the references are altered. Comparing the output of the Postmodernism Generator with postmodern scholarship is like comparing a Lorem Ipsum generator to a Latin text. Superficially similar, but not close enough.

What I do think is interesting is that if you loaded it with genuine references, and a bit more thematic connectivity then v2.0 might produce genuine pomo text but that’s another matter.

Žižuku requires a bit more work, but I think it’s a lot funnier because I can foresee this having serious potential. It’s from Baggini’s review of Slavoj Žižek’s Violence. In it Baggini notes a constant.

Žižek arranges his book like a piece of music with different movements, with chapter subheadings such as “allegro moderato”. This is fitting, because Žižek is something of a virtuoso, but as a player of paradoxes. His great riffs take one of a finite number of forms. There is the simple psychoanalytic trope of claiming that however something seems, its true nature is the precise opposite. Then you have the repeated claim that a certain position entails its opposite, but that both sides of the paradox are equally real. Then again, there is the reversal of common sense, in which, whatever the received wisdom is, Zizek postulates the opposite.
And that really is it: Žižek simply repeats these intellectual manoeuvres again and again, albeit brilliantly, supplementing them with Lacanian embellishments such as the objet petit, the Other and the Real.

It’s a good review and I recommend reading it all, because Baggini recognises that it can be a helpful way of seeing things from a new perspective. Yet while psychoanalysis might be rooted in the idea of humanity, applied ad infinitum it’s clearly every bit as mechanical and dehumanised as the postmodernism generator.

That’s Žižuku!

You win by taking any widely accepted idea and inverting it to reveal a paradox, so in the case above I was aiming for postmodernism as mechanistic method. Assertions without evidence count. For more examples read the review.

They’re discussing the rules at Talking Philosophy. One addition I’d make is that a statement which can be backed up with evidence should score more than an assertion. The point is that while it’s a satirical game which illustrates a limited repertoire of imagination, it doesn’t mean that the findings are valueless. Drugs trials for example attempt to follow an established furrow of methods, but it’s that adherence to method which allows the validity of their findings to be judges. Similarly Žižuku at one level clearly undermines the authority of Žižek’s method and reliance on Lacanian tropes. Yet it also embodies the essence of postmodernism in being by its very nature playful and contradictory. By rejecting the normative approach of orthodox academia it thus constitutes a suitably subversive tool for critical enquiry.

…and that’s Žižuku!

Now supposing I want to write a paper of Žižuku and get it published, where should I submit it to? There would be a key difference between my paper and Sokal’s. Sokal knew his paper was nonsense when he submitted it. I in contrast, like Baggini says of Žižek, wouldn’t really be able to tell whether my paper made sense or not. If academics accepted it anyway, would that be validation enough?

I worked out where I could send a paper to, using Žižuku to illustrate something which I genuinely believe, which would blur the lines between satire and scholarship further. In the end I’ve decided that I really don’t need to make extra work for myself right now.

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