Archiv für Oktober 2013

Critical Theo|^|MIR³¼:~National socialist meass~*

Coca green

What shocked me, then, was finding a theoretical article, written by a woman, that so viscerally evoked the female body. At that time, in the 70’s and 80s, Cixous‘ writings, and those of other French feminists who called for ecriture feminine, worked on me in a gradual fashion. At first reading I cringed and turned away — as a lapsed, but by no means cured, catholic — I had no desire to imagine sexuality and its associated „dark“ areas influencing what I wrote. Gradually, over the years, as I became more confident in myself, in my body, and in my writing, the memory of the poetic feminists began to reemerge and the connection between the „who“ of me and the „what“ I produced on the page, began to register again, like a far-off sound.

[3~] Several years later, as my work moved into new media, I began studying hypertext. Theorists (this time mostly male rhetoricians) were waxing as enthusiastically, if not as eloquently, as Cixous and her colleagues, about new forms of writing. They celebrated hypertext for its associative, non-linear, and multi-valanced form. Over the last decade, these theorists have promised to liberate us from the constraints and „passivity“ of print and to deliver us to the interactive world of hypertextual writing. Hypertext is imagined as a kind of electronic jouissance — made safe for white male academics by promising both to transcend the material body and turn the text into all „fringes.“ In this essay I examine the claims of new media, in relation to feminist writings of the 1970’s and 1980’s, specifically ecriture feminine, to argue that claims of writing are inextricably twined with received notions of gender, coded — even overdetermined — as active, passive, penetrating and receptive and that these gendered notions of writing can profoundly affect the way we teach. Despite theoretical gestures that have been critiqued as essentializing and colonizing, several French feminists recognized and sought to affirm the connections between materiality and cognition through a celebration of embodied writing; hypertext theorists rarely acknowledge the connections among bodies, gender and writing and seek instead to disembody the writing process, reifying instead the „mind,“ and a philosophical history that glorifies masculine cognition.

Bodies and Bytes

High:Le brutal images in Impstead visual com:sys exist during the ²³nd-street social:lewd.


~||~|| °

NS Stoike


Yo boiz secl:air: || German:ott solved~

NS Knittel

Trick or treat …

Once upon a time the life of the mind was supposed to be sweet, deviant fun. It was the defiant alternative to „being come to sense“ and so electing to „fumble in a greasy till.“ It was the choice of those who could not endure that „Getting and spending: we lay waste our powers,“ and preferred to spend their days and nights „getting as many pulsations as possible into the given time.“ Many of us still teach the texts from Yeats, Wordsworth, and Pater containing these passages, but when one looks at the solemn, joyless business that now dominates most of academe, it is hard to maintain that these texts are still, as we used to say in the 60’s, relevant to our lives.

[2] ante Americans inhabit a divisive culture, one of whose greatest divides has traditionally been between those who choose to invest in creating a more secure financial future and those who choose to spend their time and money on pleasurable experiences. Historically, few have been affluent enough to achieve a satisfactory degree of both. The current shrinking of the middle class and increasing national opposition to support for fine arts and education, at least in the form of paying professional-level salaries to the people who make the art and those who teach in the Humanities, has pushed many such intellectuals to live prudently bourgeois lives. This is most noticeably manifested in the tendency of the majority of academics to prioritize property ownership above more directly pleasurable aspects of life, including our traditional indulgence in books and the visual arts. And for evidence that this is so, one need look no further than the current practice of academic search committees who arrange for meetings between prospective hires and local realtors as a matter of course, but rarely even suggest showing the job seeker local libraries, museums, galleries, or theaters. Is it any wonder then that the so-called theory revolution has so far resulted mainly in a lot of abstract talk and very little revolutionary change in theorist’s daily practices? Or that Foucault, who frequently tried to remind us that „one is not radical because one pronounces a few words; no, the essence of being radical is physical,“ is remembered primarily as a theorist of discourse, which is conceived by many as if it had no concrete, real world sources? No, but help for the would-be radical academic is here in the form of two autobiographical, philosophical guides to transforming one’s life through pleasure.

When mater material real :~Ism starts with abakyuss…

Bel ~ copy and paste….ya know a Suse ledge co…




Fashion week Sao Paul:~oo


Well dun Mr. sun of Elizabeth Third…damme apples-

° for ya experience such srooge a wave throughoutta mess so called bein ‚gentr:-ii‘ for Rape culture postfascist Eu and red ropes: banks ‚Under the plaste playa‘~green …

Meomath MIT 1949 liberalice Tokyo 1940s kiss op

Love ya….



Border left….

Gustl Mull:~Abba:‘SS‘ and Algier Ingles Louisianna

Presently by the chancelor chord of censor media math on mass prepare, I can‘t upload such files of ‚Hitler-Percent‘ thier subject/object ‚F.Men‘ and critical male science in Germany b.ii standart on ‚Sex Part 1973′….as inquiry about how tiny Germany is and will be on Intl. scale and abstracts daily through the time zones elementary,…so all paragraph demon women behind the structures of radical critics en route these Nazi-Pope woman at front on big minus prepare by British FForce Knigthz ‚Glaspearl‘ to plain -magnetics-,…that will be mass consequences to explain the whole Black Hole world into an Anus of children commons represent such surgin ‚Volksbund‘ religions into…

Not to mention thum op clicks – that only 1967 ‚Rasterfahndung‘ is actueil,..and not Dia-all old ‚Desteurs‘ at 1943 frontline so called ‚Zeitzeugen‘ Alz-Park/_Ism ‚IRNA‘ blue Ali prolets by lingual arbtraryness…all fascist on one ground and your chem:trail gotta return…no one will be interested Inn.

As that Intl. allies never thougth about longwill:-vil sanction anemoses tns over tns dead bodiepolitical frames around the globe. One look around you see only ‚~ manipulation para into ‚Rosa Akten signs‘ signif-so called ‚Behindert b-ii Passport‘….rose.

Dewar parliament, presently utilith as Luth-Reichstag‘ some clicks away,..take a minor stance on and respect yourself as ‚Kauf_Leutzsch‘ – you have lost full filled on ‚Alice shoe clapp ‚Heil‘– || Charly Brown ‚Franken-Inszest Stirn Bavaria ENglish Bobs pervertin as helio:coppa Cops mirror¬|| fist in ya face.

Everything is transparent and no Danish neutral chord of your ‚Schwul/Gay‘ dumme damme women around get a corner for :-Ism again.

Talking about Intl. fast track Trade, means in German_eo Sub:~ve:-wehr…prepare girls innerst into such moral codes-||

One cross and all the Aphorisme MI…lewd a Joe Hamburg 1973 +….fuck ya.

Points (Lucretian Codes)

To Maro:cc crowns a golden ‚Galgen‘ up tha show of Sahair the Berlin-BiiBii short Bar Mizw:-

[1] … the point. the point thereof. the meaning of introducing points into painting, points not unlike those in geometry, having no extension, by themselves imperceptible, and yet different for being points of intensity, of colour. not quite abstraction. atomisation. in fact no abstraction without atomisation. the opposite of Platonism. the greatest simulacra made of the smallest atoms.

[2] Points and atoms are what can only be thought but also what must be thought as the basis of everything. One cannot perceive points and atoms. One only perceives their blend, shapes and shades (simulacra). What Seurat understood better than other Neo-Impressionists is that atoms must be simple. They themselves cannot be compound. He thus did not blend his colours. The colours blend themselves on the level of the perceptible, just as atoms do, according to certain laws. However the existence of such laws does not imply that there has to be any sort of resemblance between the atomic and the perceptible levels. The contrary holds. And this is the point where pointillism makes both collage and abstract art possible. The point that means the split between what is expressed and what expresses, between the conditioned and the condition, between shapes and shades and points and atoms.

[3] Because if collage is a recontextualisation, it presupposes the necessity of the primary existence of elements whose context (though endowing them with meaning-perceptibility) is secondary. The rights of the atom. A different grammar. A language of words stemming from letters which do not resemble them. A language that is the only thing we can hear, knowing it is not its own condition, nor is it conditioned from above, but that it is an outgrowth, an epiphenomenon, of the imperceptible bubbling depths. For not even letters are the real atoms. And if abstract art is a freeing of the signifying from the signified or of that which expresses from the expressed, it is primarily a search for the true atoms, the emancipation of the atom.

[4] Is „painting in one dimension“ more realistic? As in today’s computer graphics, where you get a clearer picture by increasing the number of pixels? (And indeed we live in a pointillist world today.) Yet many of Seurat’s contemporaries complained of his paintings being fuzzy. No, realism and materialism are two different things. Atoms are real. But they are imperceptible. We only see shapes and shades. But those are but simulacra. Real and Not-there or There and Not-real. No in-between. Is it the aim of abstract art to make the Real perceptible as well? If so, it is a vain project and pointillism is the more sophisticated of the two. Even more sophisticated for being fuzzy. Being the predecessor of op-art in which the effect, or the work itself, is created in the perceiver, pointillism points out (by its fuzziness) the logic of perception. We can only perceive on the basis of something which we cannot perceive. We do not perceive the basis, the point. If we did, we would not make anything out anyway, there would be no shapes or shades. In other words, if we are to see something it is necessary that what we see be not real. Enough to make one go dotty…

[5] The traditional technique of painting is platonic and realistic. Platonism and realism do not exclude one another. In Platonism what we see is not real, but it bears a direct resemblance to what is real. What is real is the condition of what is perceived, just as in materialism, but this condition is in fact thought on the basis of what we see. The real and the perceptible are alike. Lines and shapes in the traditional painting resemble what is to be painted. And what is to be painted, the real, conditions the drawing; it leads the lines and shapes. The painting is already finished even before it is started. Because of their resemblance there does not even arise the difference between what expresses and what is expressed. The difference is there, however, and Plato knew it well. It manifests itself in the changeability of the perceptible and the stability of the real. Yet in painting this changeability of the perceptible is reduced, which led some commentators to claim that paintings portray ideas. Anyway, it takes pointillist materialism to introduce the split into the painting. Again, a split that cannot be perceived, but is felt, or sensed through the intensity of the shades of colours and the fuzziness of the simulacra.

[6] A traditional problem arises for such an interpretation. If there are only points and atoms, and no ideas or teleology, how is it possible that the atoms fit into regular shapes and recognisable figures? At this point we will probably be inclined to revise or at least complicate purely atomistic principles. After all, the painter knows what he wants to paint. (Although what does this knowing amount to if the painting takes more than two years to finish and consists of over three million dots? Dotty. Seriously.) But let us forget about the painter. The traditional answer to the atom-thing problem is that there is an infinity of worlds in which what we see as regular is sheer chaos and that even our world on a different temporal scale is nothing truly stable. This world-painting is after all a chance combination. Which brings us the other way around to Swift. The difference is that we have the finished work and we wonder how it could have appeared through chance alone. This might be where abstract art decides it does not want to take the chances.

[7] …the truth in pointillism. „The hypokeimenon, that underneath, hides another underneath.“ [1] If painting points somewhere beyond itself, to a referent or an object, pointillist painting starts pointing inwards as well, to the other Not-there. And this pointing is pretty much infinite, it occurs within every geometrical point on the canvas; the painting is infinitely punctured. A double vertigo: infinite atoms, infinitely small, and infinite simulacra, big-screen pictures. Not that this pointing does not already appear in impressionism and its use of colours. What is new about pointillism is the new grammar, which becomes essential to collage and op-art. But what distinguishes pointillism from these later art movements and styles (save for collage perhaps) is the simultaneous retaining of the other pointing, of the objective simulacrum. The images of gods.


Make a honor:able donor to Madmen ‚GFR‘~





Ole Bela FC St.Paul GG United

Sincerly Mafia Spaghetty Bolognia ‚X‘

Intrust Bela

Revolution ein deutsch…..ledge


D.ii.||.sabled b:-ii com;sys on addicted phone houndth respect.

No respect further.


» go
» got ya
18:53 DJ Deckstrous
18:54 Bel
Tricky Muay beety bo,..DJ Dex Mc Mc Mc two
» Ready for Huey ho roar
» Magister Artiuum pleased ‚n sure
18:57 cyborg left the room. (Logged out)
18:58 Bel
Hapiipiii Bountie Ty for asure IQ Azalean Leandeer London,..yo

Tri-critical mens science daily on -xe- Jerusalem ‚UN‘ settle AE:p:H

Bansai:-ii … Nawa Zaire sake…..

Murree 13th ~ up Yo 5th.

‚Meat a Cc:oncok:timig-rage off only shwoin an Ahornet-at ante ‚Roman:-ii‘ in Berlin suggest such surgin represent good femme rose Marie trust abroad in plurallied support a portfolie, each could mouivens.

Like to take the fluid of this girl at front urbain in: Atari south Azea riotz 1989 steady up tha Lords crown, never have surgin into adultery and children ‚reach‘ a ‚Zucht‘…no one will be interested Inn.

I feel well on censor M.A. personal senti:MAD math….