Dada, Optics, and Visual Transparencies


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"Dialectic precultural theory, nationalism and capitalism::

Stephen M. G. Dahmus
Department of English, Carnegie-Mellon University

Y. Martin Drucker
Department of Literature, Harvard University
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1. The modernist paradigm of discourse and neotextual nationalism.

If one examines the neocultural paradigm of consensus, one is faced with a choice: either reject neotextual nationalism or conclude that the goal of the reader is significant form, given that the neocultural paradigm of consensus is invalid. But Humphrey[1] suggests that we have to choose between nationalism and Marxist capitalism.

In the works of Madonna, a predominant concept is the distinction between within and without. Derrida uses the term ‘the neocultural paradigm of consensus’ to denote the collapse, and eventually the economy, of capitalist society. In a sense, the subject is contextualised into a nationalism that includes consciousness as a paradox.

"Class is part of the failure of culture" says Bataille; however, according to d’Erlette[2] , it is not so much class that is part of the failure of culture, but rather the collapse of class. In Material Girl, Madonna deconstructs prematerial deappropriation; in Sex she reiterates the neocultural paradigm of consensus. Therefore, Debord uses the term ‘neotextual nationalism’ to denote the role of the writer as artist.

The primary theme of the works of Madonna is the bridge between society and class. The characteristic theme of von Ludwig’s[3] essay on the neocultural paradigm of consensus is the economy, and therefore the rubicon, of cultural sexual identity. However, if the neoconstructive paradigm of narrative holds, we have to choose between the neocultural paradigm of consensus and capitalist socialism.

"Art is meaningless" says Marx. The subject is interpolated into a neotextual nationalism that includes culture as a whole. But Sargeant[4] holds that we have to choose between nationalism and neomodern narrative.

Lacan promotes the use of textual nihilism to read society. Therefore, the main theme of the works of Pynchon is the role of the poet as observer.

Lyotard suggests the use of neotextual nationalism to deconstruct sexism. In a sense, the subject is contextualised into a nationalism that includes narrativity as a reality.

If neotextual nationalism holds, the works of Pynchon are an example of mythopoetical feminism. But the primary theme of la Fournier's[5] analysis of textual objectivism is a self-sufficient totality.

Debord uses the term "the neocultural paradigm of consensus" to denote the stasis, and some would say the rubicon, of postcapitalist class. Thus, the subject is interpolated into a nationalism that includes consciousness as a whole.

Foucault uses the term "neotextual nationalism" to denote the difference between society and class. In a sense, the subject is contextualised into a textual discourse that includes art as a reality.

The figure/ground distinction which is a central theme of Pynchon's V is also evident in Vineland. Thus, Sartre promotes the use of nationalism to challenge and modify reality.

Cameron[6] implies that we have to choose between the neocultural paradigm of consensus and subcultural textual theory. Therefore, Derrida uses the term 'nationalism' to denote not theory as such, but pretheory.

2. Consensuses of genre

If one examines the neocultural paradigm of consensus, one is faced with a choice: either accept neotextual nationalism or conclude that consciousness serves to entrench hierarchy. The premise of nationalism holds that the purpose of the poet is social comment. In a sense, many constructions concerning the meaninglessness, and subsequent fatal flaw, of postcapitalist society may be discovered.

"Sexual identity is part of the genre of culture" Debord. The main theme of the works of Pynchon is the common ground between class and society. But the subject is interpolated into a neocultural paradigm of consensus that includes narrativity as a paradox.

"Sexual identity is a legal fiction" Derrida; however, according to Dahmus[7] , it is not so much sexual identity that is a legal fiction, but rather the meaninglessness, and some would say the futility, of sexual identity. If neodialectic rationalism holds, we have to choose between neotextual nationalism and Lacanist obscurity. Thus, the neocultural paradigm of consensus implies that society, surprisingly, has objective value.

In the works of Pynchon, a predominant concept is the concept of semiotic sexuality. Lyotard uses the term "the subtextual paradigm of narrative" to denote the paradigm, and subsequent rubicon, of deconstructivist art. It could be said that Debord's model of nationalism suggests that the raison d'etre of the reader is deconstruction, given that truth is distinct from consciousness.

The subject is contextualised into a neomodern desublimation that includes truth as a totality. Therefore, Sontag suggests the use of the neocultural paradigm of consensus to attack sexism.

Capitalist discourse states that discourse is a product of the collective unconscious. Thus, the characteristic theme of von Junz’s[8] critique of neotextual nationalism is a mythopoetical whole.

Long[9] suggests that we have to choose between the neocultural paradigm of consensus and neodialectic Marxism. Therefore, Bataille's model of neotextual nationalism implies that sexuality is fundamentally elitist.

The subject is interpolated into a neocultural paradigm of consensus that includes art as a totality. In a sense, Debord promotes the use of neotextual nationalism to read society.

Nationalism holds that the goal of the participant is social comment. Thus, several constructions concerning the neocultural paradigm of consensus exist.

The subject is contextualised into a nationalism that includes reality as a paradox. It could be said that any number of deappropriations concerning the role of the poet as artist may be found.


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1. Humphrey, Z. M. (1985) Forgetting Baudrillard: Nationalism in the works of Mapplethorpe. Yale University Press

2. d’Erlette, L. ed. (1974) The neocultural paradigm of consensus and nationalism. O’Reilly & Associates

3. von Ludwig, N. H. (1985) The Expression of Futility: Nationalism in the works of Pynchon. University of Oregon Press

4. Sargeant, W. ed. (1990) Nationalism and the neocultural paradigm of consensus. And/Or Press

5. la Fournier, R. L. (1985) The Absurdity of Expression: The neocultural paradigm of consensus and nationalism. University of Illinois Press

6. Cameron, V. R. M. ed. (1970) Nationalism in the works of Rushdie. O’Reilly & Associates

7. Dahmus, R. (1997) Reading Baudrillard: Nationalism and the neocultural paradigm of consensus. University of North Carolina Press

8. von Junz, V. F. B. ed. (1980) Nationalism in the works of Pynchon. Panic Button Books

9. Long, J. Z. (1998) The Reality of Futility: The neocultural paradigm of consensus and nationalism. O’Reilly & Associates"

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Inequality, disassociation and 'case never closed'


Smashing the mirrors

Code Transmission, electronic dots

3days of the Condor

Data transmission

Data strings: Art as binary

'embedding' string in art

Converting string to art.
Abstract art as information...string is art

nonsense to sense

how to transmit key as nonsense?

embed in utility?

graphics interface as reader of key in public imagery.

multilayered encryption of key and 'message' morphing as per ...?

a sequence trapping patterns according to data date? date>key>data>message

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newsflash: see: read: know...?


The assassin as monoscript.

Tailoring solution to craving.

1. The Silence of the Lambs (1991)

"Hannibal Lecter: First principles, Clarice. Read Marcus Aurelius. Of each particular thing ask: what is it in itself? What is its nature? What does he do, this man you seek?

Clarice Starling: He kills women--

Hannibal Lecter: No! That is incidental. What is the first and principal thing he does, what need does he serve by killing?

Clarice Starling: Anger, social resentment, sexual frustration--

Hannibal Lecter: No, he covets. That's his nature. And how do we begin to covet, Clarice? Do we seek out things to covet? Make an effort to answer.

Clarice Starling: No. We just--

Hannibal Lecter: No. Precisely. We begin by coveting what we see every day. Don't you feel eyes moving over your body, Clarice? I hardly see how you couldn't. And don't your eyes move over the things you want?"
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first principles: What does this person do that we seek? ...kills? --No

what need is served by killing? --Anger, social resentment? --No

No, this person disobeys yet yearns for approval. That's the nature. Through obedience comes acceptance, through obeying an order to kill Kennedy, the disobedience within is stilled. The tone of the times is one of obedience to society. An act of obedience kills the selfquestioning. This, in this context, in Dallas, in the south is an obedience to an anti catholic, anti jew, anti desegregation, anti communist society which is contrary to a deeper nature of empathy and love. Kennedy in this society is disobedient. Kill Kennedy and show the distance between self and disobedience.
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2. nonSense.

Particulars pertaining to dogma in relation to identification.

Failure to assimilate simplicity leading to an ever widening circle of foreign influence.

Causes: The opposite of craving is aversion. : to crave a solution that is aversive by choosing focus of aversion exterior to self. Rejection of endoaversion and replacing with that which is supportive of societal inclusion.

Perpetuation of the smoke generator is assured.

3. the researcher as co conspirator.

willing participation. desire for closure balanced with exploited aversion to solution.

Solution is that which is least desired.

What is least desired: guilt. exposure.

What is most desired: redemption.

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culture of mission.

an inherently unequal society makes equality a goal. a society that is inherently unequal but teaches that it is equal sseks to 'mission'

Mission as patriarchy. Implication of patronage.

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to put it simply, : "a bunch of patronising patriarchs that seek to expunge guilt from subconscious recognition of fault within its own culture will always project that guilt onto others by making that others less than self or in need of that which is most needed in self. thus the search for the guilty (self) gains the needed logic : a mission

This is the enigma or paradox that ensures that the guilty are forever safely hidden in the room beyond the room of mirrors.

this topic is an armchair attempt at smashing a few mirrors. I have no expertise in it but I figure that if one tries to do so one may make some progress.

Firstly :___________

The first post is generated by a derivative of what's called a 'DADA engine', in this case a 'postmodernist generator' that takes sets of grammar and and words to create something that may look like sense but actually is nonsense.

This sort of thing has fooled scientists, and various contributions by 'hoaxers' have generated discussion in scientific journals.

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it is as a non sequiteur.

This has a lot to do with the DADA engine and with concept research by people like Ram Das.

One thought I've been toying with (apart from the researcher being the conspirators best friend) is that here are many who attempt to break out of this mind set but there is little thought given to how to do it. Attempts to do so while not directly discounted is not regarded as important.

Partly there is an inhibiting stigma that is readily available.

This to me seems like the most effective guise behind which to look for the assassins. Hide sense behind nonsense

It is paragraphs like this that best example (I could have actually chosen several from this post to illustrate the same point) why I thank God I read mathematics; Is it me or does anybody else think this sounds not only as if it's bordering on pseudo-science but also pretentious?

.............Or am I just showcasing my ignorance?

"The researcher" was anticipated and utilized as the single most important component of the cover-up. Doppelgangers, disinformation, slow releases of "official" information ostensibly prompted by citizens' demands but actually injected early into the coverup structure in classic time-release formulation, homogenized into nonsense.



This realization prompted Evica's appreciation of the assassination as theater -- a consciously devised theatrical construct.

John, I cannot overstate the value of your posts in this regard.