Pomo discussion with Franz Shippe: What did Prinn really say?

One tuesday morning Linden time everyone in PH was using their Pomo generators. I and Franz couldn't quite agree how Prinn should be interpreted.....


[8:04] SeanBrian Flatley: However, the destruction/creation distinction intrinsic to Beverly Hills 90210 emerges again in Melrose Place. Bataille uses the term 'the capitalist paradigm of discourse' to denote the meaninglessness of precultural society. In a sense, the primary theme of the works of Spelling is the bridge between class and sexual identity. It could be said that Prinn [6]implies that we have to choose between Lacanist obscurity and neosemioticist objectivism.
[8:04] Quintessential Sorbet: oh I'm not sure...but why not
[8:04] Quintessential Sorbet: I have to study that in detail
[8:05] Franz Shippe: I am in awe, Sean!
[8:05] Quintessential Sorbet: I have to check the reference [6]
[8:05] SeanBrian Flatley: but if you want to step up a gear.... The main theme of Reicher's [9]analysis of conceptual dematerialism is not dematerialism, but neodematerialism. Thus, an abundance of desublimations concerning Lacanist obscurity may be revealed. Foucault's critique of capitalist materialism implies that the State is part of the absurdity of art, but only if culture is distinct from language; otherwise, we can assume that the raison d'etre of the observer is significant form. But the subject is contextualised into a pretextual theory that includes sexuality as a whole. The dialectic, and some would say the economy, of dialectic constructive theory depicted in JFK is also evident in Natural Born Killers.
[8:05] Quintessential Sorbet: I think Prinn did not imply what you said
[8:05] Spokesman Salomon: Speak properly Sean:
[8:06] Spokesman Salomon: there's a coflex accent on "etre".
[8:06] Quintessential Sorbet: AHHA....I cannot find Prinn's paper on that
[8:06] SeanBrian Flatley: it's a UK character set - proper etres are off - and so is the soup - loki burnt it
[8:06] Franz Shippe: LOL
[8:07] Dar Innis: Class is fundamentally impossible,” says Debord; however, according to la Fournier[1] , it is not so much class that is fundamentally impossible, but rather the paradigm, and therefore the economy, of class. In a sense, the dialectic of capitalist dematerialism depicted in Rushdie’s The Ground Beneath Her Feet is also evident in The Moor’s Last Sigh, although in a more preconceptualist sense.
[8:07] SeanBrian Flatley: you got it dar
[8:07] Quintessential Sorbet: errr.....*trying to find La fournier's article [1]
[8:07] Dar Innis: The primary theme of the works of Rushdie is the role of the observer as poet. Dialectic theory implies that the significance of the participant is social comment, given that Foucault’s essay on semantic capitalism is invalid. Thus, a number of theories concerning the difference between sexual identity and reality may be discovered.
[8:08] Quintessential Sorbet: here I have it...this is what Prinn truly said SB: Prinn[4] states that we have to choose between Batailleist `powerful communication’ and the predialectic paradigm of discourse. But Marx uses the term ‘the posttextual paradigm of reality’ to denote not, in fact, discourse, but subdiscourse.
[8:08] Dar Innis: Marx uses the term ‘neocultural discourse’ to denote the role of the artist as reader. Therefore, in The Ground Beneath Her Feet, Rushdie deconstructs the predeconstructive paradigm of reality; in The Moor’s Last Sigh, however, he affirms dialectic theory.
[8:09] Lokifluff Clarity: i have been inducted into communications from nowhere only today... 'tis genius
[8:09] SeanBrian Flatley: oh - and quint...6. Prinn, H. Y. ed. (1973) Lacanist obscurity and conceptual dematerialism.
And/Or Press
[8:09] Franz Shippe: Quint, I aver that your interpretation of Prinn has missed the central point about Batailleist communication theory. Your analysis appeals to the outdated pre-post-structuralist view of Deridavian semantic forms.
[8:10] Quintessential Sorbet: Nonsense franz!!!!!! Prinn clearly states that The premise of modernist precapitalist theory implies that consciousness may be used to marginalize the Other. But the example of the posttextual paradigm of reality prevalent in Madonna’s Material Girl emerges again in Sex, although in a more dialectic sense.
[8:13] Franz Shippe: Quint, in his well known unpublished works, available heretofor only to a select few, Prinn noted the exceptions to precapitalist semantic theories implied by the epistemic noosphere created by the internet. The assumption that language and culture can be analyzed independently of the psychoeconomic social structures implicit in......
[8:13] Quintessential Sorbet: oh!
[8:15] Quintessential Sorbet: I must confess that I'm getting a little annoyed you misquoting Prinn so constantly....no doubt to serve your own hidden agendas....namely Prinn said that If one examines semanticist desituationism, one is faced with a choice: either reject the posttextual paradigm of reality or conclude that government is capable of intention. Baudrillard promotes the use of Batailleist `powerful communication’ to attack hierarchy. Thus, a number of appropriations concerning a self-sufficient totality may be discovered
[8:18] Franz Shippe: Hidden agenda? But quint, you are evidently acquainted only with Prinn's early, and somewhat pedantic and puerile works. Had you taken the time to delve into his analysis of post capitalist semantic hierarchy theory, you would have found that the self- sufficient transcendental appropriations involved in posttextual choice are in fact merely desituated communications misappropriated by the capitalist forms, implied by the post-sexualized and sublimated works of Blerufarge.
[8:21] Quintessential Sorbet: aww Franz....I' think you are running the agenda of construction withou subconstruction without accepting the semiotic discourse....Prinn would never have accepted that...
[8:22] Quintessential Sorbet: aww...I have to go now...a teleconference....of meaty nature :-((
[8:22] Franz Shippe: So long, Quint.
[8:23] Quintessential Sorbet: bybyee.....talk to you later
[8:23] Franz Shippe: You might bone up on Prinn's later works, eh?


What do you think, which of us was right?

If you have difficulties with forming an opinion, you can get help here www.elsewhere.org/pomo


Thanks for the permission to publish this dialog Franz....if anyone of my friends likes to remove his/her part, just IM me.

Quint