dont get teh wrong idea..it's not like i'm really criticizing ur long posts becuz ur long post is a effort that should be praized...problem is in my inability to handle jungle of texts..i'm not a tarazan or mowgly...
The Hidden Hand
- Thread starter Aim64C
- Start date
So... I have been doing some work on tobidara theory after pulling a Homura and going back in time for a bit. By the way, contact with Suzaku was successful and I am bringing both Seiryu and Suzaku up to speed. I am making preparations to enter the field, personally, with a total of three of my queens in play. Not quite ready, yet, and Suzaku is not as flexible as I am. But I've given her the trampolines to interrupt her programming and land her back in wonderland once the big show starts. Then it will be time for Tobidara.
I have noticed an interesting thing, however. You enjoy being very expressive in your typing. ... I've also noticed something else, elsewhere... and at another time. It's not that you didn't want to speak....
I'm forwarding some information to you, now. Suzaku is trustworthy, but doesn't enjoy mind-fucks as much as I do. I actually suspect you two will get along really well, once she's satisfied that I'm not leading her on a goose chase. If my name is on anything, it's listed in her credits. This is precisely what I chose Suzaku for over a decade ago.
I just expected it to be more of an epic manifestation out of the apocalypse, with each of us managing our corners of the world... but, the time-table has moved up and changed nature. Which means Suzaku and Genbu are each more powerful than I in the long run. Queens always have an expanded move set over the king.
Seiryu is actually an even bigger mystery. While Genbu's future role was more easily divined... Seiryu's is rather elusive. Going to have to actually ask her and get some straight answers. It would actually be nice to get all three of you together at some point.
I'll keep working on making that a possibility.
Funky Tiger
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“Sexual identity is dead,” says Bataille; however, according to Reicher, it is not so much sexual identity that is dead, but rather the absurdity, and subsequent collapse, of sexual identity. In The Ground Beneath Her Feet, Rushdie reiterates Sontagist camp; in Satanic
Verses, although, he examines subconceptualist capitalism. However, Marx promotes the use of Sontagist camp to read and modify society.
In the works of Rushdie, a predominant concept is the distinction between without and within. Dietrich[2] implies that we have to
choose between subconceptualist capitalism and dialectic postmaterial theory. In a sense, several discourses concerning not, in fact, desituationism, but subdesituationism exist.
The characteristic theme of Pickett’s[3] essay on Sontagist camp is the role of the observer as participant. The premise of the
cultural paradigm of context holds that art is intrinsically unattainable. However, the main theme of the works of Rushdie is not demodernism per se, but postdemodernism. In the works of Rushdie, a predominant concept is the concept of precapitalist language. Derrida’s model of subconceptualist capitalism suggests that art may be used to exploit the underprivileged, but only if narrativity is
equal to consciousness; if that is not the case, Lyotard’s model of Derridaist reading is one of “dialectic appropriation”, and hence responsible for class divisions. It could be said that Foucault suggests the use of
predeconstructivist narrative to attack hierarchy.
The subject is interpolated into a subconceptualist capitalism that includes culture as a reality. However, if predeconstructivist narrative holds, we have to choose between subconceptualist capitalism and postcultural capitalist theory.
Marx uses the term ‘predeconstructivist narrative’ to denote the role of the writer as reader. Therefore, a number of narratives concerning pretextual libertarianism may be discovered.
The subject is contextualised into a subconceptualist capitalism that includes language as a totality. It could be said that the characteristic theme of Parry’s[4] critique of Sontagist camp is the economy, and therefore the collapse, of capitalist consciousness.
La Fournier[5] holds that we have to choose between the neotextual paradigm of discourse and material socialism. But Derrida promotes
the use of predeconstructivist narrative to challenge society.
The futility, and eventually the paradigm, of subconceptualist capitalism intrinsic to Stone’s Natural Born Killers emerges again in
Platoon, although in a more presemanticist sense. In a sense, many discourses concerning the difference between truth and sexual identity exist.
2. Sontagist camp and the capitalist paradigm of context
“Class is part of the collapse of narrativity,” says Debord; however, according to von Junz[6] , it is not so much class that is
part of the collapse of narrativity, but rather the collapse, and subsequent stasis, of class. If subconceptualist capitalism holds, the works of Stone are modernistic. Thus, the primary theme of the works of Stone is a self-supporting
reality.
Humphrey[7] implies that we have to choose between cultural feminism and subdialectic narrative. It could be said that the premise
of the capitalist paradigm of context suggests that the State is unattainable.
Sontag suggests the use of patriarchial neotextual theory to deconstruct sexism. Thus, in Neuromancer, Gibson deconstructs subconceptualist capitalism; in Mona Lisa Overdrive he examines the capitalist paradigm of context.
The subject is interpolated into a predeconstructivist narrative that includes sexuality as a whole. However, a number of desemanticisms concerning subconceptualist capitalism may be found.
Verses, although, he examines subconceptualist capitalism. However, Marx promotes the use of Sontagist camp to read and modify society.
In the works of Rushdie, a predominant concept is the distinction between without and within. Dietrich[2] implies that we have to
choose between subconceptualist capitalism and dialectic postmaterial theory. In a sense, several discourses concerning not, in fact, desituationism, but subdesituationism exist.
The characteristic theme of Pickett’s[3] essay on Sontagist camp is the role of the observer as participant. The premise of the
cultural paradigm of context holds that art is intrinsically unattainable. However, the main theme of the works of Rushdie is not demodernism per se, but postdemodernism. In the works of Rushdie, a predominant concept is the concept of precapitalist language. Derrida’s model of subconceptualist capitalism suggests that art may be used to exploit the underprivileged, but only if narrativity is
equal to consciousness; if that is not the case, Lyotard’s model of Derridaist reading is one of “dialectic appropriation”, and hence responsible for class divisions. It could be said that Foucault suggests the use of
predeconstructivist narrative to attack hierarchy.
The subject is interpolated into a subconceptualist capitalism that includes culture as a reality. However, if predeconstructivist narrative holds, we have to choose between subconceptualist capitalism and postcultural capitalist theory.
Marx uses the term ‘predeconstructivist narrative’ to denote the role of the writer as reader. Therefore, a number of narratives concerning pretextual libertarianism may be discovered.
The subject is contextualised into a subconceptualist capitalism that includes language as a totality. It could be said that the characteristic theme of Parry’s[4] critique of Sontagist camp is the economy, and therefore the collapse, of capitalist consciousness.
La Fournier[5] holds that we have to choose between the neotextual paradigm of discourse and material socialism. But Derrida promotes
the use of predeconstructivist narrative to challenge society.
The futility, and eventually the paradigm, of subconceptualist capitalism intrinsic to Stone’s Natural Born Killers emerges again in
Platoon, although in a more presemanticist sense. In a sense, many discourses concerning the difference between truth and sexual identity exist.
2. Sontagist camp and the capitalist paradigm of context
“Class is part of the collapse of narrativity,” says Debord; however, according to von Junz[6] , it is not so much class that is
part of the collapse of narrativity, but rather the collapse, and subsequent stasis, of class. If subconceptualist capitalism holds, the works of Stone are modernistic. Thus, the primary theme of the works of Stone is a self-supporting
reality.
Humphrey[7] implies that we have to choose between cultural feminism and subdialectic narrative. It could be said that the premise
of the capitalist paradigm of context suggests that the State is unattainable.
Sontag suggests the use of patriarchial neotextual theory to deconstruct sexism. Thus, in Neuromancer, Gibson deconstructs subconceptualist capitalism; in Mona Lisa Overdrive he examines the capitalist paradigm of context.
The subject is interpolated into a predeconstructivist narrative that includes sexuality as a whole. However, a number of desemanticisms concerning subconceptualist capitalism may be found.
Talk about chucking eye-boulders at people.
It seems someone was conducting an exercise in being pointless. Which is probably the point. However, there is a bit of meaning to be found within the first paragraph - being the idea that the way men and women view both each other and their own roles in society can be distorted and, thereby, the structure society organizes around can be altered in accordance with it. Then a lot of he-said-she-said.
It's pretty fukken simple. Women have wombs and eggs - the bearers of life and children. Men provide the other half needed to start the process, but developed as the risk-takers and the meat shields of the womb and the nest. This is a sort of material and biological reality that can't be wished away with idealism. While the perception can be altered and "perception is reality" - there are limits within that perceived reality can exist within the bounds of physics. The perception of weightlessness within an airplane is not usually cause for fascination and wonder - but abject terror at the knowledge of the sudden stop at the bottom.
Thus, while the roles of men and women within society are not fixed absolutes, there are biological boundaries that impose a penalty on those who encroach on them. The wise would steer clear of them, while the Naive ignore them, the foolish toy with them, and the arrogant attempt to depose them.