We can clearly see that there is no bi-univocal correspondence between linear signifying links or archi-writing, depending on the author, and this multireferential, multi-dimensional machinic catalysis. The symmetry of scale, the transversality, the pathic non-discursive character of their expansion: all these dimensions remove us from the logic of the excluded middle and reinforce us in our dismissal of the ontological binarism we criticised previously.

In the first place, singularities-events correspond to heterogeneous series which are organized into a system which is neither stable nor unstable, but rather 'metastable,' endowed with a potential energy wherein the differences between series are distributed . . . In the second place, singularities possess a process of auto-unification, always mobile and displaced to the extent that a paradoxical element traverses the series and makes them resonate, enveloping the corresponding singular points in a single aleatory point and all the emissions, all dice throws, in a single cast.

Style has become an object of first importance, and what a style it is! For me it has a prancing, high-stepping quality, full of self-importance; elevated indeed, but in the balletic manner, and stopping from time to time in studied attitudes, as if awaiting an outburst of applause. It has had a deplorable influence on the quality of modern thought . . .

I could quote evidence of the beginnings of a whispering campaign against the virtues of clarity. A writer on structuralism in the Times Literary Supplement has suggested that thoughts which are confused and tortuous by reason of their profundity are most appropriately expressed in prose that is deliberately unclear. What a preposterously silly idea! I am reminded of an air-raid warden in wartime Oxford who, when bright moonlight seemed to be defeating the spirit of the blackout, exhorted us to wear dark glasses. He, however, was being funny on purpose.

You have opened my eyes. Truly, a scholar among scholars.

I praise you. I praise you for your power and glory. I praise you for your wisdom and creativity. I praise you for your mercy and righteousness. I praise you because you alone are worthy of my praise. O LORD, you alone can bring me full salvation. Please, shine your face upon me. Please, make your presence known in my life. In Jesus' name I pray. Amen.

Does the hawk take flight by your wisdom and spread his wings toward the south? Is it your wisdom that makes the hawk soar and spread its wings toward the south? Is it by your understanding that the hawk soars, Stretching his wings toward the south? Does your understanding make a bird of prey fly and spread its wings toward the south?

Fly - So strongly, constantly, unweariedly, and swiftly. South - At the approach of winter, when wild hawks fly into warmer countries, as being impatient of cold. The birds of the air are proofs of the wonderful providence of God, as well as the beasts of the earth. God instances in two stately ones.

Sexual identity is intrinsically dead,� says Sontag. Therefore, Marx uses the term presemantic narrative to denote the bridge between class and sexual identity. The characteristic theme of von Ludwig's model of patriarchialist rationalism is not theory, as Foucault would have it, but subtheory.

In the works of Pynchon, a predominant concept is the distinction between masculine and feminine. However, Lyotard uses the term Sontagist camp to denote a postdialectic reality. The subject is contextualised into a capitalist discourse that includes truth as a totality.

Art is part of the absurdity of culture, says Baudrillard. But Bataille promotes the use of presemantic narrative to analyse and attack sexual identity. Any number of narratives concerning subcultural nationalism may be discovered.

It could be said that the example of presemantic narrative prevalent in Pynchons Gravitys Rainbow is also evident in V. Debord suggests the use of Sontagist camp to deconstruct outmoded, sexist perceptions of society.

However, the subject is interpolated into a presemantic narrative that includes truth as a paradox. Several deappropriations concerning the role of the observer as writer exist.

But if Derridaist reading holds, the works of Pynchon are modernistic. An abundance of narratives concerning Sontagist camp may be revealed.

Thus, Tilton suggests that we have to choose between Derridaist reading and constructivist theory. The subject is contextualised into a Sontagist camp that includes sexuality as a totality.

Truly remarkable are your faculties of far sight, O wise one.

Toadfish wrote:

We can clearly see that there is no bi-univocal correspondence between linear signifying links or archi-writing, depending on the author, and this multireferential, multi-dimensional machinic catalysis. The symmetry of scale, the transversality, the pathic non-discursive character of their expansion: all these dimensions remove us from the logic of the excluded middle and reinforce us in our dismissal of the ontological binarism we criticised previously.

In the first place, singularities-events correspond to heterogeneous series which are organized into a system which is neither stable nor unstable, but rather 'metastable,' endowed with a potential energy wherein the differences between series are distributed . . . In the second place, singularities possess a process of auto-unification, always mobile and displaced to the extent that a paradoxical element traverses the series and makes them resonate, enveloping the corresponding singular points in a single aleatory point and all the emissions, all dice throws, in a single cast.

Style has become an object of first importance, and what a style it is! For me it has a prancing, high-stepping quality, full of self-importance; elevated indeed, but in the balletic manner, and stopping from time to time in studied attitudes, as if awaiting an outburst of applause. It has had a deplorable influence on the quality of modern thought . . .

I could quote evidence of the beginnings of a whispering campaign against the virtues of clarity. A writer on structuralism in the Times Literary Supplement has suggested that thoughts which are confused and tortuous by reason of their profundity are most appropriately expressed in prose that is deliberately unclear. What a preposterously silly idea! I am reminded of an air-raid warden in wartime Oxford who, when bright moonlight seemed to be defeating the spirit of the blackout, exhorted us to wear dark glasses. He, however, was being funny on purpose.

You have opened my eyes. Truly, a scholar among scholars.

I praise you. I praise you for your power and glory. I praise you for your wisdom and creativity. I praise you for your mercy and righteousness. I praise you because you alone are worthy of my praise. O LORD, you alone can bring me full salvation. Please, shine your face upon me. Please, make your presence known in my life. In Jesus' name I pray. Amen.

Does the hawk take flight by your wisdom and spread his wings toward the south? Is it your wisdom that makes the hawk soar and spread its wings toward the south? Is it by your understanding that the hawk soars, Stretching his wings toward the south? Does your understanding make a bird of prey fly and spread its wings toward the south?

Fly - So strongly, constantly, unweariedly, and swiftly. South - At the approach of winter, when wild hawks fly into warmer countries, as being impatient of cold. The birds of the air are proofs of the wonderful providence of God, as well as the beasts of the earth. God instances in two stately ones.

Sexual identity is intrinsically dead,� says Sontag. Therefore, Marx uses the term presemantic narrative to denote the bridge between class and sexual identity. The characteristic theme of von Ludwig's model of patriarchialist rationalism is not theory, as Foucault would have it, but subtheory.

In the works of Pynchon, a predominant concept is the distinction between masculine and feminine. However, Lyotard uses the term Sontagist camp to denote a postdialectic reality. The subject is contextualised into a capitalist discourse that includes truth as a totality.

Art is part of the absurdity of culture, says Baudrillard. But Bataille promotes the use of presemantic narrative to analyse and attack sexual identity. Any number of narratives concerning subcultural nationalism may be discovered.

It could be said that the example of presemantic narrative prevalent in Pynchons Gravitys Rainbow is also evident in V. Debord suggests the use of Sontagist camp to deconstruct outmoded, sexist perceptions of society.

However, the subject is interpolated into a presemantic narrative that includes truth as a paradox. Several deappropriations concerning the role of the observer as writer exist.

But if Derridaist reading holds, the works of Pynchon are modernistic. An abundance of narratives concerning Sontagist camp may be revealed.

Thus, Tilton suggests that we have to choose between Derridaist reading and constructivist theory. The subject is contextualised into a Sontagist camp that includes sexuality as a totality.

Truly remarkable are your faculties of far sight, O wise one.

Spammer!