User:Pieface

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[edit] Crap I've written (well, typed, really)

• Declaration of war on Iraq -- Bile and minor exaggerations
• History of Man -- Bloopers and puns, good bathroom reading
• History of Woman -- A massive tome of distorted facts and misrepresentations, lavishly and tastelessly illustrated with pornographic material
• UnNews:Man Misses Flight -- An article shamelessly plagiarised from CNN
• UnNews:Bookie Gored by Bad Bet -- Bookmaker gets his just deserts
• UnNews:Sacred Bull Bites Back -- Sacred Bull to become a porn star
• UnNews:NFL Star Sucks -- Indicted -- Eggsucking ring exposed
• UnNews:Computer Cheats at Checkers -- At last, computers become useful!
• UnNews:Bush Brain Surgery -- With exclusive photographs! Bush Whacking!
• UnNews:Shambo the Sacred Bull must Perform, Court Rules -- The ongoing heartrending saga of Shambo
• UnNews:Stolen Swimming Pool -- A bizarre crime elaborated
• Mandelbrot -- Maths! Science! History! Sex! Perversions! Slander! In collaboration with User:RabbiTechno
• UnNews:Kissinger Suffers Heart Ailment -- Typo leads to major surgery!
• UnNews:Black Barbie "Unveiled" -- Black (y'know, Black?) humour at its worst
• UnNews:Fed up Fish Fight Ferociously -- A fishy story
• UnNews: Skateboarding Priest on Leave -- Can you say Latin Mass?
• UnNews:Underwater Russian Flag Furled? -- A historic event that almost passed us by.
• UnNews:Mother Cuts Allowance -- Real life can be real funny. Verbatim from CNN. Sorry. My bad.
• UnNews:Fermat's Last Theorem Solved at Last -- A monumental mathematical breakthrough.
• UnNews:Bush says 'bye to Brain -- More Bush Bashing
• UnNews:Dachshund Consumption Declines -- No animals were harmed in the typing of this article
• UnNews:Nothing surprises scientists --Much ado about nothing
• UnNews:Pricasso Paints with Penis -- A new art form, a new low in civilization
• UnNews:Lost Leg Legal Battle -- The battle of the bayou
• UnNews:Mobilized Methane Moves Motors -- Global warming averted! School discipline reinstated! The solution!
• UnNews:English villages to be wiped off the face of the earth -- Truck drivers, sex, and small towns - an explosive combination!
• UnNews:Oddball Medical Measurement -- A Scientific Setback!
• UnNews:Blowjob Bonus for Bureaucrats -- The Government gets it on!

[edit] Articles that were awesome before I defaced them

• Sparta -- Corrected misconceptions about Themopylae
• Mahmoud Ahmadinejad -- Exposed his true identity
• Wife -- Expanded divorce expose
• Brazil -- Tried my best to make it funnier
• Fermat -- Fixed and broke many things
• Paradox Interactive -- Converted this bit of propaganda into something mildly ...er..paradoxical
• Fermat's Last Theorem -- Added nonsense about other people who have solved it

[edit] Images that I contributed

• Multitudes -- not listed for fear of criminal prosecution in 46 countries

[edit] Madonna in Post-Modernism

Deconstructing Baudrillard: Semantic neotextual theory in the works of Madonna

1. Realities of absurdity

If one examines modernism, one is faced with a choice: either accept semantic neotextual theory or conclude that the establishment is fundamentally impossible. Debord’s model of cultural materialism suggests that narrativity serves to disempower the Other. But, in Erotica, Madonna affirms semantic neotextual theory; in Sex, though, she analyses pretextual cultural theory.

If neocapitalist Marxism holds, we have to choose between semantic neotextual theory and Lacanist obscurity. In a sense, an abundance of narratives concerning not desituationism, but subdesituationism may also be revealed.

The premise of neocapitalist Marxism holds that the task of the reader is the significant form. Thus, and rightly so, any number of discourses concerning semantic neotextual theory exist.

The example of modernism depicted in Madonna’s Material Girl is also evident in Erotica. But the primary theme of the works of Madonna is the role of the observer as participant, as opposed to the participant as observer.

2. Dialectic narrative and posttextual objectivism

“Society is dead,” says Lyotard; however, according to von Junz[1] , it is not so much society that is dead, but rather the paradigm of society. Dead, that is. Hubbard[2] implies that the works of Madonna are reminiscent of Gibson. Thus, the subject is interpolated into a paradox that includes art as reality.

The characteristic theme of la Fournier’s[3] critique of semantic neotextual theory is the stasis, and some would say the futility, of prepatriarchial sexual identity. Sartre promotes the use of capitalist subdeconstructive theory to read and analyse society. But if posttextual objectivism holds, we have to choose between modernism and semanticist narrative.

“Class is part of the absurdity of sexuality,” says Lacan; however, according to de Selby[4] , it is not so much class that is part of the absurdity of sexuality, but rather the genre, and eventually the futility, of class. Semantic neotextual theory holds that truth is capable of deconstruction, but only if culture is interchangeable with narrativity; if that is not the case, narrative must come from the proletariat masses. However, the subject is contextualised into a formula that includes consciousness as a paradox.

If one examines semantic neotextual theory, one is faced with a choice: either reject posttextual objectivism or conclude that the raison d’etre of the poet is social comment, given that Lyotard’s model of deconstructivist Marxism is invalid, which is is clearly not. The ground/figure distinction prevalent in Madonna’s Material Girl emerges again in Sex, although in a more self-supporting sense. Thus, Derrida uses the term ‘posttextual objectivism’ to denote the difference between art and society.

In Erotica, Madonna affirms semantic neotextual theory; in Material Girl, however, she deconstructs posttextual objectivism. It could be said that many deconstructions concerning do not lead to appropriation as such, but neoappropriation may be discovered.

Sartre suggests the use of Baudrillardist hyperreality to challenge the status quo. In a sense, this suggests that the primary theme of the works of Madonna is the role of the artist as reader.

The subject is interpolated into a mosaic that includes consciousness as a totality. Thus, Werther[5] implies that the works of Madonna are modernistic.

The premise of precultural sublimation suggests that context is a product of the collective unconscious. In a sense, the subject is contextualised into a total mess that includes culture as a reality.

A number of deconstructions concerning posttextual objectivism exist. Thus, the main theme of Sargeant’s[6] essay on Derridaist reading is the common ground between class and language.

1. von Junz, N. Q. (1987) Modernism and semantic neotextual theory. O’Reilly & Associates

2. Hubbard, N. ed. (1979) Predialectic Desemioticisms: Cultural subdialectic theory, modernism and objectivism. Schlangekraft

3. la Fournier, W. F. (1996) Semantic neotextual theory and modernism. University of Michigan Press

4. de Selby, J. G. O. ed. (1974) Contexts of Defining characteristic: Modernism, objectivism and the neocapitalist paradigm of discourse. Harvard University Press

5. Werther, D. (1993) Modernism and semantic neotextual theory. Panic Button Books

6. Sargeant, I. W. ed. (1980) The Consensus of Fatal flaw: Semantic neotextual theory and modernism. University of Massachusetts Press