Postmodernism Music Essay Titles

Reinventing Realism: Foucaultist power relations and cultural
postcapitalist theory

Paul F. T. de Selby

Department of Peace Studies, Carnegie-Mellon University

1. Gibson and Foucaultist power relations

If one examines cultural postcapitalist theory, one is faced with a choice:
either accept neocultural libertarianism or conclude that narrativity serves to
marginalize the Other. But Derrida’s critique of cultural postcapitalist theory
states that the purpose of the reader is social comment, given that Foucaultist
power relations is valid.

“Class is unattainable,” says Sartre. Marx suggests the use of Foucaultist
power relations to deconstruct elitist perceptions of society. Therefore, the
primary theme of Hanfkopf’s[1] model of conceptual
postcultural theory is the common ground between language and class.

If one examines Foucaultist power relations, one is faced with a choice:
either reject Foucaultist power relations or conclude that narrativity is part
of the dialectic of art. Foucault promotes the use of Foucaultist power
relations to read society. However, the characteristic theme of the works of
Spelling is the absurdity, and eventually the futility, of dialectic
consciousness.

“Sexual identity is intrinsically elitist,” says Lacan; however, according
to Parry[2] , it is not so much sexual identity that is
intrinsically elitist, but rather the stasis, and subsequent meaninglessness,
of sexual identity. The premise of Foucaultist power relations holds that the
Constitution is capable of significant form. In a sense, the main theme of von
Ludwig’s[3] essay on cultural postcapitalist theory is the
bridge between society and sexual identity.

Bataille uses the term ‘neocultural rationalism’ to denote a mythopoetical
paradox. However, the primary theme of the works of Fellini is the defining
characteristic, and hence the economy, of material society.

Debord’s analysis of Foucaultist power relations suggests that culture is
used to entrench hierarchy. Thus, the subject is interpolated into a cultural
postcapitalist theory that includes narrativity as a totality.

Foucault suggests the use of Foucaultist power relations to attack
capitalism. But the premise of cultural postcapitalist theory implies that the
task of the poet is social comment, given that language is interchangeable with
truth.

In La Dolce Vita, Fellini examines Foucaultist power relations; in
8 1/2, however, he denies cultural postcapitalist theory. Thus, several
appropriations concerning the role of the artist as observer exist.

If Foucaultist power relations holds, we have to choose between Foucaultist
power relations and subcapitalist narrative. But the subject is contextualised
into a Foucaultist power relations that includes narrativity as a reality.

Von Junz[4] states that we have to choose between
Foucaultist power relations and patriarchialist desublimation. In a sense,
Derrida uses the term ‘Foucaultist power relations’ to denote the difference
between culture and class.

2. Expressions of meaninglessness

The characteristic theme of Geoffrey’s[5] model of
Foucaultist power relations is the futility, and some would say the rubicon, of
postdialectic consciousness. If materialist libertarianism holds, the works of
Fellini are postmodern. Therefore, Sartre uses the term ‘Foucaultist power
relations’ to denote not discourse as such, but neodiscourse.

“Society is part of the economy of language,” says Lacan. Tilton[6] holds that we have to choose between Foucaultist power
relations and posttextual dialectic theory. But Sartre promotes the use of
cultural postcapitalist theory to modify and analyse culture.

In the works of Spelling, a predominant concept is the distinction between
destruction and creation. If neostructural deconceptualism holds, we have to
choose between Foucaultist power relations and cultural subcapitalist theory.
It could be said that in Melrose Place, Spelling reiterates Sontagist
camp; in The Heights he examines Foucaultist power relations.

If one examines Foucaultist power relations, one is faced with a choice:
either accept Foucaultist power relations or conclude that consciousness is
impossible. Debord suggests the use of cultural postcapitalist theory to
challenge outmoded, sexist perceptions of class. However, Sartre uses the term
‘Foucaultist power relations’ to denote the role of the poet as writer.

A number of theories concerning cultural postcapitalist theory may be
discovered. Thus, Derrida promotes the use of structuralist precapitalist
theory to attack art.

Hubbard[7] states that the works of Spelling are
empowering. In a sense, Marx suggests the use of cultural postcapitalist theory
to deconstruct capitalism.

The subject is interpolated into a Foucaultist power relations that includes
language as a whole. Thus, the primary theme of the works of Burroughs is a
self-falsifying totality.

The subject is contextualised into a Foucaultist power relations that
includes sexuality as a reality. In a sense, an abundance of deappropriations
concerning the role of the poet as artist exist.

Lyotard uses the term ‘Foucaultist power relations’ to denote not, in fact,
discourse, but subdiscourse. However, Baudrillard promotes the use of
Foucaultist power relations to analyse and modify society.

3. Foucaultist power relations and constructive sublimation

“Reality is fundamentally meaningless,” says Lyotard. The main theme of
Bailey’s[8] essay on Lacanist obscurity is the bridge
between society and narrativity. In a sense, if cultural postcapitalist theory
holds, we have to choose between constructive sublimation and the subtextual
paradigm of reality.

The subject is interpolated into a cultural socialism that includes art as a
whole. Thus, Scuglia[9] implies that we have to choose
between Foucaultist power relations and neostructuralist discourse.

The subject is contextualised into a Sontagist camp that includes
narrativity as a totality. It could be said that Bataille uses the term
‘constructive sublimation’ to denote a capitalist paradox.

Foucaultist power relations states that art may be used to disempower the
underprivileged, but only if the premise of constructive sublimation is
invalid; if that is not the case, Foucault’s model of submodern objectivism is
one of “textual neodeconstructivist theory”, and therefore a legal fiction. In
a sense, in Nova Express, Burroughs reiterates Foucaultist power
relations; in The Ticket that Exploded, however, he denies dialectic
nihilism.

4. Burroughs and constructive sublimation

“Class is part of the collapse of language,” says Lacan; however, according
to Pickett[10] , it is not so much class that is part of
the collapse of language, but rather the rubicon of class. The subject is
interpolated into a Foucaultist power relations that includes narrativity as a
whole. Therefore, Baudrillard uses the term ‘neostructural nihilism’ to denote
the difference between society and class.

If one examines constructive sublimation, one is faced with a choice: either
reject capitalist dematerialism or conclude that narrative is a product of the
masses. The subject is contextualised into a constructive sublimation that
includes truth as a paradox. Thus, if cultural postcapitalist theory holds, we
have to choose between Foucaultist power relations and Batailleist `powerful
communication’.

Lyotard’s model of constructive sublimation holds that society has intrinsic
meaning. In a sense, Humphrey[11] suggests that we have to
choose between Foucaultist power relations and the capitalist paradigm of
consensus.

The dialectic, and thus the collapse, of constructive sublimation prevalent
in Burroughs’s The Last Words of Dutch Schultz is also evident in
Nova Express. It could be said that Bataille suggests the use of
Foucaultist power relations to attack class divisions.

Sontag uses the term ‘cultural postcapitalist theory’ to denote the failure,
and subsequent fatal flaw, of postdialectic language. Thus, in Port of
Saints
, Burroughs deconstructs constructive sublimation; in Naked
Lunch
he analyses Foucaultist power relations.

5. Foucaultist power relations and semioticist subcapitalist theory

The characteristic theme of the works of Burroughs is a self-fulfilling
whole. Semioticist subcapitalist theory states that context comes from
communication. It could be said that if cultural postcapitalist theory holds,
the works of Burroughs are not postmodern.

“Sexual identity is responsible for colonialist perceptions of society,”
says Baudrillard; however, according to von Ludwig[12] , it
is not so much sexual identity that is responsible for colonialist perceptions
of society, but rather the failure of sexual identity. A number of narratives
concerning Foucaultist power relations may be revealed. But la Fournier[13] suggests that we have to choose between semioticist
subcapitalist theory and deconstructive neoconstructivist theory.

“Class is part of the futility of narrativity,” says Sontag. Lyotard uses
the term ‘Foucaultist power relations’ to denote the role of the observer as
participant. However, if conceptual socialism holds, we have to choose between
Foucaultist power relations and the postcapitalist paradigm of narrative.

Bataille’s essay on semioticist subcapitalist theory states that sexual
identity, somewhat surprisingly, has significance, but only if language is
equal to culture; otherwise, the goal of the observer is deconstruction. But
Lyotard uses the term ‘Foucaultist power relations’ to denote the common ground
between society and sexual identity.

Derrida promotes the use of cultural postcapitalist theory to deconstruct
class. Thus, in Junky, Burroughs deconstructs cultural situationism; in
Nova Express, however, he examines cultural postcapitalist theory.

The premise of semioticist subcapitalist theory implies that academe is
intrinsically unattainable, given that Foucault’s critique of Foucaultist power
relations is valid. But the subject is interpolated into a cultural
postcapitalist theory that includes consciousness as a paradox.

D’Erlette[14] suggests that we have to choose between
Sartreist absurdity and neomodern dialectic theory. In a sense, the subject is
contextualised into a Foucaultist power relations that includes sexuality as a
whole.

The main theme of von Junz’s[15] analysis of cultural
postcapitalist theory is the role of the artist as participant. But if
semioticist subcapitalist theory holds, we have to choose between the
subsemiotic paradigm of consensus and capitalist libertarianism.

6. Contexts of failure

“Society is part of the economy of consciousness,” says Bataille; however,
according to Humphrey[16] , it is not so much society that
is part of the economy of consciousness, but rather the fatal flaw, and some
would say the dialectic, of society. The characteristic theme of the works of
Eco is the defining characteristic, and eventually the rubicon, of
postcapitalist sexual identity. Therefore, Finnis[17]
implies that we have to choose between cultural postcapitalist theory and
neostructuralist feminism.

The main theme of Parry’s[18] essay on the cultural
paradigm of narrative is the role of the reader as observer. Lyotard uses the
term ‘Foucaultist power relations’ to denote the stasis, and some would say the
failure, of posttextual truth. In a sense, the primary theme of the works of
Joyce is the bridge between class and narrativity.

Sontag uses the term ‘semioticist subcapitalist theory’ to denote a
mythopoetical paradox. But the main theme of Tilton’s[19]
model of Foucaultist power relations is not narrative, as patriarchial
socialism suggests, but subnarrative.

Foucaultist power relations holds that language is capable of intent. In a
sense, the subject is interpolated into a cultural postcapitalist theory that
includes art as a whole.

The within/without distinction depicted in Joyce’s Dubliners emerges
again in A Portrait of the Artist As a Young Man, although in a more
self-falsifying sense. However, Foucault uses the term ‘semioticist
subcapitalist theory’ to denote the common ground between society and language.

Bataille suggests the use of cultural postcapitalist theory to attack
capitalism. Thus, Baudrillard’s critique of neomodernist theory suggests that
society has intrinsic meaning.

7. Semioticist subcapitalist theory and structural predialectic theory

“Sexual identity is fundamentally a legal fiction,” says Sartre; however,
according to Dahmus[20] , it is not so much sexual identity
that is fundamentally a legal fiction, but rather the absurdity, and subsequent
economy, of sexual identity. The subject is contextualised into a cultural
postcapitalist theory that includes consciousness as a reality. It could be
said that if subtextual conceptualist theory holds, we have to choose between
Foucaultist power relations and Lacanist obscurity.

“Narrativity is impossible,” says Marx. Bataille promotes the use of
structural predialectic theory to analyse and deconstruct sexual identity.
However, postdialectic textual theory holds that the establishment is capable
of social comment.

If one examines structural predialectic theory, one is faced with a choice:
either accept cultural postcapitalist theory or conclude that reality, perhaps
ironically, has objective value, but only if culture is distinct from
narrativity. Many appropriations concerning the role of the writer as reader
exist. But the primary theme of the works of Joyce is a mythopoetical whole.

The premise of structural predialectic theory suggests that sexuality is
part of the collapse of narrativity. However, the main theme of Pickett’s[21] model of Foucaultist power relations is the role of the
artist as observer.

Foucault’s analysis of cultural postcapitalist theory holds that sexuality
is used to reinforce hierarchy, given that the premise of neocultural theory is
invalid. Thus, Wilson[22] suggests that the works of
Tarantino are modernistic.

The primary theme of the works of Tarantino is the defining characteristic,
and some would say the futility, of precapitalist society. Therefore,
Foucaultist power relations states that the media is intrinsically a legal
fiction.

Derrida uses the term ‘the modernist paradigm of reality’ to denote the role
of the writer as participant. It could be said that the characteristic theme of
Tilton’s[23] model of cultural postcapitalist theory is the
bridge between class and culture.

Marx suggests the use of Foucaultist power relations to attack the status
quo. In a sense, if neotextual desemioticism holds, we have to choose between
cultural postcapitalist theory and constructive postcapitalist theory.

8. Contexts of dialectic

“Sexual identity is impossible,” says Derrida. The meaninglessness, and
therefore the genre, of structural predialectic theory prevalent in Tarantino’s
Jackie Brown is also evident in Pulp Fiction. Therefore, several
narratives concerning cultural postcapitalist theory may be found.

The main theme of the works of Tarantino is a modern paradox. But Bailey[24] holds that we have to choose between Foucaultist power
relations and Batailleist `powerful communication’.

The characteristic theme of Porter’s[25] essay on
cultural postcapitalist theory is the common ground between sexuality and
class. It could be said that Derrida promotes the use of structural
predialectic theory to read language.

9. Tarantino and cultural postcapitalist theory

“Sexual identity is part of the fatal flaw of culture,” says Lyotard;
however, according to McElwaine[26] , it is not so much
sexual identity that is part of the fatal flaw of culture, but rather the
rubicon, and eventually the failure, of sexual identity. The subject is
interpolated into a cultural neodialectic theory that includes reality as a
totality. However, if cultural postcapitalist theory holds, the works of
Tarantino are empowering.

“Society is fundamentally meaningless,” says Bataille. The primary theme of
the works of Tarantino is a self-justifying whole. But the subject is
contextualised into a Foucaultist power relations that includes culture as a
paradox.

Marx uses the term ‘cultural postcapitalist theory’ to denote the role of
the observer as artist. Thus, in Jackie Brown, Tarantino analyses the
capitalist paradigm of expression; in Four Rooms, although, he
reiterates structural predialectic theory.

Derrida suggests the use of Foucaultist power relations to challenge
capitalism. Therefore, a number of situationisms concerning not discourse, but
prediscourse exist.

Lyotard uses the term ‘structural predialectic theory’ to denote the bridge
between sexual identity and society. In a sense, the example of cultural
postcapitalist theory depicted in Tarantino’s Pulp Fiction emerges again
in Jackie Brown, although in a more subsemiotic sense.

Scuglia[27] states that we have to choose between
presemiotic construction and Debordist image. However, the subject is
interpolated into a cultural postcapitalist theory that includes sexuality as a
reality.

10. Consensuses of fatal flaw

If one examines textual theory, one is faced with a choice: either reject
cultural postcapitalist theory or conclude that narrativity may be used to
oppress the proletariat, but only if art is interchangeable with language; if
that is not the case, Bataille’s model of Foucaultist power relations is one of
“neocapitalist Marxism”, and thus part of the collapse of art. If cultural
postcapitalist theory holds, the works of Tarantino are not postmodern. Thus,
Geoffrey[28] holds that we have to choose between the
textual paradigm of reality and Lyotardist narrative.

In the works of Tarantino, a predominant concept is the concept of
neocultural truth. The creation/destruction distinction intrinsic to
Tarantino’s Four Rooms is also evident in Reservoir Dogs.
Therefore, Marx promotes the use of Foucaultist power relations to modify and
read sexual identity.

“Reality is intrinsically impossible,” says Sartre. The premise of
semanticist desituationism states that expression is a product of the
collective unconscious. But Lacan uses the term ‘structural predialectic
theory’ to denote a mythopoetical totality.

The main theme of Dietrich’s[29] critique of Foucaultist
power relations is the dialectic, and subsequent defining characteristic, of
materialist class. An abundance of theories concerning Sontagist camp may be
discovered. Thus, if structural predialectic theory holds, the works of
Tarantino are postmodern.

The subject is contextualised into a subtextual paradigm of discourse that
includes consciousness as a reality. In a sense, Wilson[30]
holds that we have to choose between cultural postcapitalist theory and the
precultural paradigm of narrative.

The primary theme of the works of Tarantino is the role of the observer as
writer. Therefore, Sartre suggests the use of conceptual neocapitalist theory
to attack archaic perceptions of sexual identity.

Sontag uses the term ‘cultural postcapitalist theory’ to denote not theory,
but pretheory. Thus, if Foucaultist power relations holds, we have to choose
between Foucaultist power relations and semiotic neocultural theory.

Lyotard uses the term ‘cultural postcapitalist theory’ to denote a dialectic
whole. In a sense, structural predialectic theory states that the raison d’etre
of the artist is deconstruction.

Derrida uses the term ‘cultural postcapitalist theory’ to denote the role of
the observer as reader. However, the main theme of de Selby’s[31] model of postpatriarchialist capitalism is a
self-fulfilling paradox.

The premise of Foucaultist power relations suggests that reality has
intrinsic meaning. In a sense, Lyotard uses the term ‘structural predialectic
theory’ to denote the difference between sexual identity and class.

11. Cultural postcapitalist theory and cultural desublimation

“Consciousness is part of the absurdity of narrativity,” says Marx. Sontag
promotes the use of the subtextual paradigm of context to modify class. It
could be said that Tilton[32] states that we have to choose
between cultural postcapitalist theory and Lyotardist narrative.

Foucault uses the term ‘the neocultural paradigm of discourse’ to denote
not, in fact, narrative, but subnarrative. However, the subject is interpolated
into a Foucaultist power relations that includes reality as a totality.

Sartre uses the term ‘cultural postcapitalist theory’ to denote a
deconstructivist paradox. Therefore, the primary theme of the works of
Burroughs is the role of the observer as reader.


1. Hanfkopf, C. (1984) Cultural
postcapitalist theory in the works of Spelling.
University of Michigan
Press

2. Parry, M. O. E. ed. (1978) Reading Derrida: Foucaultist
power relations in the works of Fellini.
Panic Button Books

3. von Ludwig, C. (1997) Foucaultist power relations in
the works of Cage.
Harvard University Press

4. von Junz, I. R. ed. (1989) The Vermillion Sky: Cultural
postcapitalist theory and Foucaultist power relations.
Cambridge University
Press

5. Geoffrey, M. B. H. (1971) Foucaultist power relations
in the works of Stone.
Panic Button Books

6. Tilton, S. J. ed. (1994) The Absurdity of Narrative:
Foucaultist power relations in the works of Spelling.
Oxford University
Press

7. Hubbard, D. (1979) Cultural postcapitalist theory in
the works of Burroughs.
And/Or Press

8. Bailey, I. V. ed. (1982) Postdialectic Desituationisms:
Foucaultist power relations and cultural postcapitalist theory.
O’Reilly &
Associates

9. Scuglia, L. (1977) Foucaultist power relations in the
works of Glass.
And/Or Press

10. Pickett, I. O. R. ed. (1998) Deconstructing Sartre:
Cultural postcapitalist theory and Foucaultist power relations.

Schlangekraft

11. Humphrey, H. S. (1970) Foucaultist power relations
and cultural postcapitalist theory.
Cambridge University Press

12. von Ludwig, D. ed. (1996) The Futility of Discourse:
Cultural postcapitalist theory and Foucaultist power relations.
Yale
University Press

13. la Fournier, U. Z. Y. (1983) Foucaultist power
relations in the works of Joyce.
Panic Button Books

14. d’Erlette, A. D. ed. (1971) Reading Marx: Cultural
postcapitalist theory in the works of Eco.
O’Reilly & Associates

15. von Junz, K. D. N. (1995) Foucaultist power relations
in the works of Mapplethorpe.
Loompanics

16. Humphrey, O. T. ed. (1971) The Stasis of Class:
Nationalism, Foucaultist power relations and precultural modernist theory.

Cambridge University Press

17. Finnis, L. (1999) Foucaultist power relations and
cultural postcapitalist theory.
Loompanics

18. Parry, W. M. T. ed. (1976) The Consensus of
Meaninglessness: Cultural postcapitalist theory in the works of Joyce.

University of North Carolina Press

19. Tilton, U. R. (1997) Foucaultist power relations in
the works of Pynchon.
Harvard University Press

20. Dahmus, N. ed. (1986) The Meaninglessness of Context:
Cultural postcapitalist theory and Foucaultist power relations.
Oxford
University Press

21. Pickett, T. H. N. (1992) Cultural postcapitalist
theory in the works of Tarantino.
And/Or Press

22. Wilson, R. ed. (1978) Deconstructing Marx:
Foucaultist power relations and cultural postcapitalist theory.
Harvard
University Press

23. Tilton, J. O. M. (1994) Cultural postcapitalist
theory in the works of Tarantino.
Yale University Press

24. Bailey, Q. Z. ed. (1986) The Consensus of Absurdity:
Foucaultist power relations in the works of McLaren.
University of
Massachusetts Press

25. Porter, P. (1974) Foucaultist power relations, the
subconceptualist paradigm of narrative and nationalism.
University of
Oregon Press

26. McElwaine, W. K. ed. (1989) Consensuses of
Meaninglessness: Cultural postcapitalist theory and Foucaultist power
relations.
Schlangekraft

27. Scuglia, G. I. C. (1997) Foucaultist power relations
and cultural postcapitalist theory.
University of Massachusetts
Press

28. Geoffrey, M. Y. ed. (1970) Deconstructing
Constructivism: Nationalism, Foucaultist power relations and deconstructivist
postcapitalist theory.
University of Georgia Press

29. Dietrich, S. (1981) Cultural postcapitalist theory
and Foucaultist power relations.
Harvard University Press

30. Wilson, L. G. J. ed. (1990) Forgetting Debord:
Foucaultist power relations and cultural postcapitalist theory.
University
of Massachusetts Press

31. de Selby, Y. K. (1989) Foucaultist power relations in
the works of Burroughs.
And/Or Press

32. Tilton, N. B. U. ed. (1995) The Iron Sea: Cultural
postcapitalist theory and Foucaultist power relations.
University of Oregon
Press


The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator. To generate another essay, follow this link.
If you liked this particular essay and would like to return to it, follow this link for a bookmarkable page.

The Postmodernism Generator was written by Andrew C. Bulhak using the Dada Engine, a system for generating random text from recursive grammars, and modified very slightly by Josh Larios (this version, anyway. There are others out there).

This installation of the Generator has delivered 17,660,345 essays since 25/Feb/2000 18:43:09 PST, when it became operational.

More detailed technical information may be found in Monash University Department of Computer Science Technical Report 96/264: “On the Simulation of Postmodernism and Mental Debility Using Recursive Transition Networks“.

More generated texts are linked to from the sidebar to the right.

If you enjoy this, you might also enjoy reading about the Social Text Affair, where NYU Physics Professor Alan Sokal’s brilliant(ly meaningless) hoax article was accepted by a cultural criticism publication.

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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