Log in


Who Put The Benzedrine In Mrs. Murphy's Ovaltine?

Transwankerist Institute For Convulsive Teleology
Posting Access:
All Members , Moderated
“Criticism must attack the form, never the content of your ideas, of your language.” –Isidore Ducasse.

The first and most necessary ingredient for producing “inspired” writing is an almost painful awareness of the limitations of the medium; and secondly, a desire to transcend the fetters thereof, so ardent and overwhelming that the writer is genuinely afraid that ey might destroy the language of which ey makes use.

Thirdly ey must have a preternatural grasp of the processes involved in reading, because what is actually imparted to the reader is never what is on the page, and what is on the page never reflects truly the mind of the writer; the writer must write as if ey were the reader, reaching new levels of sublimity by anticipating but never truly approximating the experience of the other.

Writing is fallow per se. It is successful only insofar as its signs steer the reader towards the memory of a past mood, and it is this recollection of a personal point-event (and the reduction of that memory into something universal rather than especial) that fuels a reading. But each reader has access to eir own idiosyncratic storehouse of impressions, therefore no two persons ever read the same text; it is not that readers interpret the texts differently, they are literally interfacing with a different object (in a non-physical sense). Texts are comprised only partially of the words that the author has set down. The greater part of a text exists only in the mind of the reader, assembled on-spot by the action of an endless web of associations drawn from life experience and the cultural sign-environment.

It is this assemblage process that allows the entirety of another work to be present in a text, even if the referenced text is referred to just briefly or quoted from in only small part. If a writer quotes a New Testament author in eir own work, the entirety of the canon is then contained within the new work—I mean this literally and not figuratively. Genesis P-Orridge observes thus:

“No matter how short, or apparently unrecognisable a sample might be in linear TIME perception, it must, inevitably, contain within it, (and accessible through it) thee sum total ov absolutely everything its original context represented, communicated, or touched in any way. On top ov this it must implicitly also include thee sum total ov every individual in any way connected with its introduction and construction within thee original (host) culture, and every subsequent (mutated or engineered) culture it in any way, means or form, has contact with forever...(in past, present, future and quantum timezones).” (Splinter Test, GP-O)

Every new text contains within itself every other text produced previously by all cultures soever, for a text cannot be separated from a reading and the reader's subconscoius storehouse contains atavistic knowledge in profusion. What is actually written is naught but vague instruction for the assembly of a text, and that process occurs in the mind (and the mind is but a dream of a dream, having no real substance).

No text is truly clearer than any other for nary communicate what the author intends, we only fancy that we have ascertained the intent of another if the information presented is similar in content and delivery to information encountered aforetime. Our notion of what is clear and what is obfuscatory is informed by years of accumulated prejudice, leading us to fret when we encounter a format with which we are unfamiliar, and to believe that there exists such thing as coherent conventions of grammatical construction etcetera. Were we conditioned to look for the thesis statement of an essay at the conclusion rather than in the introduction, we would be utterly perplexed when presented with an example of the contrary. Structure is largely accidental, anyway. Personally speaking, I am always shocked when I read over a draft for the first time, because I dis-cover so much explicit statement and implication that I never intended, but which is usually “relevant” anent the topic, and also beyond my power to have conceptualized and planned. Organization indicates relationship amongst parts, yet so much implication is the work of chance that we may rightly deem implied relationship arbitrary in most cases!

The Collected Letters, Aloysius Smegmadell Alden
a thousand plateaus, abstract expressionism, adjectival explosion, aesthetic catholicism, aesthetics, aloysius alden, aloysius smegmadell alden, andy warhol, appallment, art, arthurian legend, attention deficit disorder, baudrillard, beating rosenau, beyond culture, big brother, bizarre, boredom, borgman, claude levi-strauss, community, composition, conceptual art, confluential bucolicization, consciousness, contrast, convivery, coum transmissions, creativity, culture, dada, dark, deconstruction, defamiliarization, demystification, design, differance, disassociation, documentation, elisabeth rohlfs-hill, ennui, equationalism, ergonomic austereness, eschatomania, ether, everything, existentialism, expression, f. scott fitzgerald, facades, female degredation, ferdinand de saussure, foucalt, found objects, frederic jameson, gender, grammatical fluidity, grammatology, grapes of wrath, gregory w. esteven, guy debord, heidegger, henri lefebvre, hermeneutics, hypermodernism, incongruity, insanity, interperceptativeness, introspection, jacques derrida, jacques lacan, jean baudrillard, jean paul sartre, jean-francois lyotard, joseph parsifal, juxtaposition, kant, karl marx, laquearia, las vegas, light, lj-cuts, madonna, marshall mcluhan, marxism, memory, metafiction, michel foucault, modernism, modernity, nancy scheper-hughes, narrative, nietzsche, nihilism, pattern, paul virilio, personae, perspective, philosophy, photography, politics, pop culture, pornography, post-history, post-human, post-modernism, post-omnivorian transwankerism, post-post-modernism, postcolonialism, poststructuralism, prelapsarian longing, privacy, profit, prufrockian anti-heroes, realism?, relativism, representation, ritual to romance, roland barthes, roman jakobson, romantic desultoryism, sado-masochism, self-reflexivity, semiotics, sex, sigmund freud, sign environment, simulations, slavoj zizek, sociology, structure, surveyance, t.s. eliot, texture, the a bomb, the fisher king, the holy grail, the light canticles, the modern world, the typist home-at-tea-time, the waste land, theory, transwankerism, un-consensus reality, virginia woolf, walter benjamin, war simulations, women