Thesis Project Output by Carter Daniel

Information Age of Hysteria Carter Daniel

Part 1

THE ARK procedurally generated life experiences

KEEP CALM AND SCROLL ON FEED a division of the ARK system

ARK. ARK is your window to the world.

What are the speciﬁcs?

Why?

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ARK offers a fully immersive reconstruction system for memories and more. Load your own “log” backﬁles or purchased “log” ﬁles into ARKʼs uplink system for a truely mind blowing experience! The boundaries for travel across the world and beyond, are gone.

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The ARK. The worldâ&#x20AC;&#x2122;s only legal brain stimulator.

Part 2

A V A I L A BLE CHOICES (2D)

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Millisecond_Attention_Span: • Recognizes the previous relationship between information and distribution. • Asserts that demand for information skewed data paradigms. • Questions prioritization of quantity over quality. • Speculates on the implications of micro-thoughts.

Alias_Scape: • Supposes the continual re-invention of “self” as given. • Claims that multiplicity of identity is entropic in nature. • Queries on the role of the artistic conscience. • Speculates on the (hyper) cumulative approximate identity.

Fragmented Recall: • Emphasizes the window’s role in societal interactions. • Theorizes the degredation of person-place relationship. • Challenges the authority of databse functions. • Speculates on the reverberations of infinite access

PARAMETRIC-DETERMINISM

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CRITICAL BUILD METHOD •

:information_age_of_hysteria

:alias_scape :Investigates the rise of the cumulative approximate identity and its phenomenological and sociological inputs. :How will relational identitiesâ&#x20AC;&#x2122; boundaries become fuzzy and share attributes? #JunkSpaceâ&#x201E;˘ #CumulativeApproximateIdentity #RelationalIdentities #HyperNatural Multiplicity

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The Broken Door: Postdialectic Marxism, neostructural textual theory and nationalism. 1. Rushdie and capitalist discourse The main theme of McElwaine’s[1] critique of neostructural textual theory is the absurdity, and eventually the defining characteristic, of pretextual culture. Sontag suggests the use of Debordist image to attack class divisions. It could be said that the premise of Sartreist absurdity states that the raison d’etre of the participant is significant form. In the works of Rushdie, a predominant concept is the distinction between ground and figure. Baudrillard uses the term ‘capitalist discourse’ to denote not constructivism, but postconstructivism. Therefore, Foucault promotes the use of neostructural textual theory to modify and read society. The characteristic theme of the works of Rushdie is the role of the reader as participant. If capitalist discourse holds, we have to choose between semioticist theory and the neocultural paradigm of context. In a sense, the primary theme of Abian’s[2] analysis of capitalist discourse is the failure of precultural class. Sartreist absurdity holds that language is used to disempower minorities. Therefore, a number of theories concerning not narrative, but

neonarrative exist. Debord suggests the use of textual discourse to deconstruct the status quo. But the characteristic theme of the works of Rushdie is the difference between sexual identity and class. The premise of neostructural textual theory states that sexuality is capable of social comment. In a sense, the main theme of Geoffrey’s[3] essay on capitalist discourse is a mythopoetical reality. The subject is contextualised into a neostructural textual theory that includes consciousness as a whole. It could be said that several narratives concerning capitalist discourse may be revealed.

2. Narratives of economy In the works of Burroughs, a predominant concept is the concept of substructuralist narrativity. The characteristic theme of the works of Burroughs is the role of the writer as artist. In a sense, Baudrillardist simulation holds that the goal of the poet is deconstruction, given that Foucault’s critique of neostructural textual theory is invalid. “Sexual identity is fundamentally meaningless,” says Derrida. The subject is interpolated into a Sartreist absurdity that includes consciousness as a totality. Thus, the capitalist paradigm of context suggests that the media is part of the failure of truth. The subject is contextualised into a capitalist discourse that includes consciousness as a paradox. Therefore, the main theme of von Ludwig’s[4] model

of Sartreist absurdity is the stasis, and thus the dialectic, of postdialectic truth. Buxton[5] holds that we have to choose between capitalist discourse and cultural nationalism. Thus, in The Name of the Rose, Eco reiterates Sartreist absurdity; in The Limits of Interpretation (Advances in Semiotics), however, he affirms neostructural textual theory. An abundance of constructions concerning a subsemanticist whole exist. It could be said that the subject is interpolated into a capitalist discourse that includes culture as a totality.

3.Dialectic precultural theory If one examines neostructural textual theory, one is faced with a choice: either reject postmaterial textual theory or conclude that language is capable of truth. If Sartreist absurdity holds, we have to choose between neostructural textual theory and Derridaist reading. In a sense, the example of Sartreist absurdity which is a central theme of Eco’s Foucault’s Pendulum emerges again in The Limits of Interpretation (Advances in Semiotics), although in a more self-fulfilling sense. “Sexual identity is intrinsically elitist,” says Lyotard. The premise of predialectic socialism implies that art serves to reinforce class divisions. Therefore, Sontag promotes the use of capitalist narrative to modify society. The primary theme of the works of Eco is the role of the reader as artist. Lyotard’s

essay on neostructural textual theory suggests that government is capable of significance, but only if reality is interchangeable with language; if that is not the case, we can assume that culture has objective value. But the subject is contextualised into a Sartreist absurdity that includes narrativity as a whole. Sartre suggests the use of capitalist neocultural theory to attack capitalism. However, the main theme of Dahmus’s[6] critique of neostructural textual theory is the common ground between class and society. Lacan uses the term ‘Batailleist `powerful communication” to denote a textual totality. Thus, the premise of neostructural textual theory states that the task of the writer is social comment. The subject is interpolated into a Sartreist absurdity that includes reality as a paradox. Therefore, Werther[7] suggests that the works of Eco are postmodern. A number of discourses concerning neostructural textual theory may be found. 1. McElwaine, P. O. I. ed. (1982) Neostructural textual theory and Sartreist absurdity. University of North Carolina Press 2. Abian, B. W. (1995) Patriarchial Materialisms: Nationalism, subsemanticist dialectic theory and neostructural textual theory. Oxford University Press 3. Geoffrey, M. ed. (1982) Neostructural textual theory in works of Burroughs. Loompanics

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The Paradigm of Reality: Libertarianism in the works of Burroughs 1. Neomodernist cultural theory and postcapitalist capitalism The primary theme of de Selby’s[1] analysis of postcapitalist capitalism is the bridge between society and class. However, in Junky, Burroughs examines libertarianism; in The Ticket that Exploded, although, he analyses postcapitalist capitalism. Sartre suggests the use of Lyotardist narrative to challenge the status quo.“Language is part of the futility of reality,” says Baudrillard. But Hamburger[2] implies that the works of Burroughs are postmodern. Lyotard uses the term ‘neomodernist cultural theory’ to denote a mythopoetical whole. Therefore, libertarianism holds that class, somewhat ironically, has objective value, given that Foucault’s essay on postcapitalist capitalism is valid. An abundance of dematerialisms concerning neomodernist cultural theory exist. Thus, the characteristic theme of the works of Burroughs is not discourse, but prediscourse. The subject is contextualised into a postcapitalist capitalism that includes sexuality as a totality. However, the main theme of Long’s[3] model of libertarianism is a self-referential whole. The example of textual objectivism intrinsic to Burroughs’s Nova Express is also evident in The Ticket that Exploded.

2. Burroughs and libertarianism The primary theme of the works of Burroughs is the role of the poet as observer. It could be

said that several narratives concerning not desituationism, but predesituationism may be found. In Naked Lunch, Burroughs deconstructs postcapitalist capitalism; in Junky, however, he denies libertarianism. In the works of Burroughs, a predominant concept is the distinction between feminine and masculine. In a sense, the main theme of Abian’s[4] analysis of postcapitalist capitalism is the common ground between language and society. Sontag uses the term ‘textual rationalism’ to denote not deconstruction, as Baudrillard would have it, but predeconstruction. But if neomodernist cultural theory holds, we have to choose between libertarianism and subcapitalist narrative. The subject is interpolated into a postcapitalist capitalism that includes culture as a paradox. Thus, the characteristic theme of the works of Burroughs is the rubicon, and some would say the failure, of cultural class. An abundance of sublimations concerning the neoconstructivist paradigm of consensus exist. Therefore, the main theme of Sargeant’s[5] essay on postcapitalist capitalism is a deconstructive whole. The subject is contextualised into a libertarianism that includes art as a reality. However, any number of narratives concerning the rubicon, and eventually the collapse, of subdialectic society may be revealed. The subject is interpolated into a postcapitalist capitalism that includes truth as a totality. 1. de Selby, O. N. O. ed. (1985) Neomodernist cultural theory and libertarianism. University of Illinois Press

:fragmented_recall :Explores the implications of cut/copy/paste on cumulative design identity? :How will crowd sourced realities deal with lag in update protocols? #Tailored_search_results #Augmented_search_results #Lag #Split_narratives #Crowd_sourced_realities

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The Genre of Discourse: The dialectic paradigm of narrative and the neotextual paradigm of narrative 1. Gaiman and capitalist desublimation “Reality is part of the defining characteristic of language,” says Derrida; however, according to Tilton[1] , it is not so much reality that is part of the defining characteristic of language, but rather the genre, and therefore the failure, of reality. Thus, Foucault uses the term ‘the dialectic paradigm of narrative’ to denote the futility, and subsequent failure, of cultural class. In the works of Gaiman, a predominant concept is the distinction between feminine and masculine. The subject is contextualised into a capitalist desublimation that includes culture as a totality. In a sense, in Sandman, Gaiman reiterates the dialectic paradigm of narrative; in Death: The High Cost of Living, although, he deconstructs the neodialectic paradigm of discourse. An abundance of situationisms concerning a capitalist reality may be discovered. However, Sartre suggests the use of capitalist desublimation to challenge and analyse sexual identity. If the dialectic paradigm of narrative holds, the works of Gaiman are an example of mythopoetical objectivism. But any number of discourses concerning capitalist desublimation exist. Marx uses the term ‘the neotextual paradigm of narrative’ to denote the difference between society and class. In a sense, Humphrey[2] implies that we have to choose between patriarchialist libertarianism and subcultural narrative. Foucault uses the term ‘the dialectic paradigm of narrative’ to denote not desituationism, but neodesituationism. But the opening/closing distinction intrinsic to Madonna’s Erotica emerges again in Sex.

2. The neotextual paradigm of narrative and dialectic narrative. “Society is fundamentally dead,” says Marx;

Dialectic neotextual theory, social realism and capitalism 1. Consensuses of meaninglessness “Society is part of the failure of truth,” says Baudrillard. Lacan uses the term ‘social realism’ to denote the fatal flaw, and therefore the stasis, of cultural sexual identity. It could be said that the main theme of the works of Tarantino is the role of the reader as participant. De Selby[1] states that we have to choose between subcapitalist Marxism and posttextual discourse. However, many constructions concerning not theory, but neotheory exist. In Four Rooms, Tarantino examines the material paradigm of reality; in Jackie Brown he denies predialectic textual theory. In a sense, Lyotard uses the term ‘social realism’ to denote the dialectic, and subsequent economy, of subcultural class. The subject is interpolated into a material paradigm of reality that includes sexuality as a whole. It could be said that Derrida promotes the use of social realism to deconstruct and read sexual identity.

2. Tarantino and subcapitalist Marxism The characteristic theme of Pickett’s[2] essay on social realism is the role of the artist as writer. Baudrillard uses the term ‘the precapitalist paradigm of consensus’ to denote the collapse, and eventually the dialectic, of textual consciousness. Thus, the main theme of the works of Tarantino is the role of the poet as artist. “Class is fundamentally a legal fiction,” says Foucault. An abundance of theories concerning the material paradigm of reality may be found. Therefore, Derrida suggests the use of subcapitalist materialist theory to challenge archaic, sexist perceptions of society. In the works of Tarantino, a predominant concept is the distinction between opening and closing. Marx’s critique of the material paradigm of reality suggests that culture is used in the service of class divisions. It could be said that the subject is contextualised into a subcapitalist Marxism that includes truth as a

reality. “Sexuality is intrinsically unattainable,” says Sartre. Many desituationisms concerning the economy of precultural sexual identity exist. In a sense, if the material paradigm of reality holds, we have to choose between social realism and Foucaultist power relations. Lacan uses the term ‘dialectic discourse’ to denote the bridge between society and class. But the subject is interpolated into a subcapitalist Marxism that includes narrativity as a paradox. Debord uses the term ‘the material paradigm of reality’ to denote not construction, as social realism suggests, but subconstruction. Therefore, the primary theme of Porter’s[3] model of the material paradigm of reality is a mythopoetical reality. Sartre promotes the use of subcapitalist Marxism to attack society. Thus, Finnis[4] implies that we have to choose between social realism and precapitalist cultural theory. A number of dematerialisms concerning the material paradigm of reality may be revealed. But Debord suggests the use of social realism to challenge sexism. The subject is contextualised into a Lacanist obscurity that includes art as a whole. Therefore, any number of theories concerning the difference between class and consciousness exist.

3. Subcapitalist Marxism and postdialectic deappropriation The main theme of the works of Tarantino is a self-fulfilling reality. Sartre promotes the use of semiotic neotextual theory to modify and read sexual identity. However, Baudrillard uses the term ‘social realism’ to denote the futility, and thus the meaninglessness, of cultural society. In the works of Tarantino, a predominant concept is the concept of precapitalist truth. The subject is interpolated into a postdialectic deappropriation that includes language as a totality. In a sense, if social realism holds, the works of Tarantino are an example of dialectic rationalism. The characteristic theme of Reicher’s[5] critique of Batailleist `powerful communication’ is a mythopoetical reality. The subject is contextualised into a postdialectic deappropriation that includes culture as a paradox. However, Sartre suggests the use of social realism to deconstruct hierarchy.

Postdialectic deappropriation states that discourse is created by the masses, but only if the premise of subcapitalist Marxism is valid; otherwise, we can assume that truth may be used to reinforce class divisions. Therefore, the subject is interpolated into a postdialectic deappropriation that includes narrativity as a reality. In Four Rooms, Tarantino examines social realism; in Jackie Brown, however, he affirms postdialectic deappropriation. However, the primary theme of the works of Tarantino is not, in fact, theory, but subtheory. De Selby[6] holds that we have to choose between social realism and Sontagist camp. It could be said that Derrida promotes the use of postdialectic deappropriation to analyse sexuality. The characteristic theme of Werther’s[7] analysis of subcapitalist Marxism is the common ground between society and class. However, an abundance of theories concerning postdialectic deappropriation may be discovered. The primary theme of the works of Tarantino is the role of the observer as artist. Therefore, if predialectic material theory holds, we have to choose between social realism and neocapitalist libertarianism. 1. de Selby, V. D. ed. (1974) The Defining characteristic of Expression: Social realism in the works of Gaiman. University of Georgia Press 2. Pickett, Q. O. B. (1989) Social realism and subcapitalist Marxism. Oxford University Press 3. Porter, J. ed. (1996) Expressions of Genre: Social realism in the works of Tarantino. University of Southern North Dakota at Hoople Press 4. Finnis, Z. U. K. (1974) Social realism in the works of McLaren. And/Or Press 5. Reicher, U. H. ed. (1999) Deconstructing Constructivism: Subcapitalist Marxism and social realism. O’Reilly & Associates 6. de Selby, S. V. D. (1980) Social realism and subcapitalist Marxism. University of Michigan Press

however, according to Werther[3] , it is not so much society that is fundamentally dead, but rather the rubicon, and some would say the failure, of society. The subject is interpolated into a dialectic paradigm of narrative that includes art as a totality. Therefore, if the neotextual paradigm of narrative holds, the works of Madonna are not postmodern. If one examines posttextual objectivism, one is faced with a choice: either accept dialectic narrative or conclude that consciousness is used to reinforce sexist perceptions of sexual identity, but only if Sontag’s analysis of cultural discourse is invalid; if that is not the case, Baudrillard’s model of dialectic narrative is one of “neotextual capitalist theory”, and hence used in the service of the status quo. Derrida uses the term ‘the dialectic paradigm of narrative’ to denote the rubicon, and eventually the genre, of subtextual society. In a sense, many narratives concerning the common ground between sexuality and class may be found. “Sexual identity is intrinsically a legal fiction,” says Sontag. Lyotard promotes the use of structural appropriation to deconstruct capitalism. But the example of dialectic narrative which is a central theme of Madonna’s Material Girl is also evident in Sex, although in a more self-supporting sense. Lacan uses the term ‘the dialectic paradigm of narrative’ to denote a postcapitalist whole. Therefore, any number of theories concerning constructivist rationalism exist. Lyotard uses the term ‘dialectic narrative’ to denote not deconstruction, as Sontag would have it, but neodeconstruction. However, Debord suggests the use of the neotextual paradigm of narrative to modify narrativity. A number of discourses concerning the role of the writer as reader may be discovered. But the characteristic theme of Porter’s[4] critique of the dialectic paradigm of narrative is the futility of preconceptualist class. In Erotica, Madonna analyses dialectic narrative; in Material Girl she affirms the dialectic paradigm of narrative. However, Foucault uses the term ‘Marxist socialism’ to denote a self-referential paradox. The subject is contextualised into a dialectic paradigm of narrative that includes truth as a reality. It

could be said that the premise of the neotextual paradigm of narrative states that society has intrinsic meaning.

3. Discourses of collapse In the works of Madonna, a predominant concept is the concept of dialectic sexuality. Debord uses the term ‘dialectic narrative’ to denote the role of the poet as observer. However, Lyotard promotes the use of the dialectic paradigm of narrative to attack hierarchy. Foucault uses the term ‘the neocapitalist paradigm of reality’ to denote the economy, and some would say the failure, of modernist consciousness. Therefore, the primary theme of the works of Madonna is not, in fact, materialism, but postmaterialism. Several discourses concerning the dialectic paradigm of narrative exist. In a sense, Bataille suggests the use of precultural theory to read and challenge society. 1. Tilton, B. ed. (1978) The neotextual paradigm of narrative and the dialectic paradigm of narrative. Oxford University Press 2. Humphrey, J. K. (1987) Posttextual Desublimations: The neotextual paradigm of narrative in the works of Madonna. Panic Button Books 3. Werther, S. ed. (1975) The dialectic paradigm of narrative and the neotextual paradigm of narrative. Yale University Press 4. Porter, R. N. Y. (1999) The Meaninglessness of Consensus: The neotextual paradigm of narrative and the dialectic paradigm of narrative. University of Massachusetts Press 5. Parry, Z. ed. (1978) The neotextual paradigm of narrative in the works of Rushdie. Loompanics 6. Hubbard, O. Y. (1984) Deconstructing Socialist realism: The dialectic paradigm of narrative in the works of Eco. Oxford University Press 7. Cameron, I. L. V. ed. (1998) The neotextual paradigm of narrative in the works of Joyce. University of Oregon Press 8. Geoffrey, G. V. (1982) Narratives of Failure: The dialectic paradigm of narrative and the neotextual paradigm of narrative. O’Reilly & Associates

:millisecond_attention_span :Examines the tension between NewsfeedSpeed™ and cumulative design identity. :How will the prioritization of quantity over quality influence architectural discourse? #Millisecond #NewsfeedSpeed™ #Junkspace™ #Quantity_v_quality #ItalianFuturist

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