The archetypal postmodernism of Mrs. Palin

The White Horse of the Appocolypes (maybe Red), William Kristol


[Note: cross posting today at www.projectivecaste.blogspot.com]

This week the prevailing framing from Democratic media outlets is that National Review founder and grand wizard of douschbaggery William Kristol is responsible for the nationalizing of Sarah Palin. It seems facile in the least to suggest one dillhole, no matter how mightely he might suck, could be responsible for pandemic platitudes, but let's continue under the assumption that he could. Further, lets allow that there is ample evidence to substantiate the claim that the beacon of the retardation can represent to a constituency their tribal ideal.

There have been numberous left leaning writers from Scott Horton to Andrew Sullivan are suggesting that the talented Mr. Kristol culled the G.I.L.F. not in spite of her empty suitness, but specifically for her vacuity.If her uncharacteristic character were cardianal among her endowments Bill Kristol's douschbaggery is tendind toward absolute truth. However, beyond the obscene anti-republican power to control such decisions the effect of political burlesque in this style represents either mastery of postmodernity with the cool menthol taste of deconstructionism or a rorschoch test which I'm sorry to say is going to lead to many more sessions, maybe bringing in some other members of the family, but let's do a couple more sessions one on one and see how it goes.

Peter Eisenman, Bill Kristol and Jacques Derrida. What do these characters from history have in common? They are all masters of the semantic school of the deconstructivist wing of the postmodernist party. (I think I've used that "wing of the party" gesture before...damn you Howard Dean and your lyrical word smithing)

The post Derrida-Eisenman break up to me signals the begining of the end of proper pomo, but in a way is the deconstruction of deconstruction. Somol-ien cool moves into or crafts the intellectual vacuum left by the collapse of criticality cum disciplinarity, and injects a theory of the thing dripping with faux zeitgeist optics and yearning for a criticcality of the uncritical. All this as a lyrical pathway toward expressing that postmodernism was shown to be a characture of itself, cliche and dogma dependant, stagnant and referential not of a historically crafted embeded system of knowledge but of a means of practice and a mode of product.

Damnit. I have to start writing these things earlier in the day. I've been absolutely wasting precious blogging time with this working that's been going around.

Cliff's Notes: She has substance and meaning and she is a symbol of her meaning. The meaning, sign and symbol are the same. there is no collapse of the meanings and valent representations, they develop in space coincidentally. The sign must then be emptied of it's meaning, the sign refilled with new meaning, and the sign becomes signifier of new meaning.

Anyhoo, the homework for if I decide to comeback to this: Notes Around Conceptual Architecture, The Seven Crutches of Modern Architecture, Notes Around the Doppler Effect, Christy Canyon Unleashed (the Anabolic one not the Vivid Video release), Simulations (Buadrillard), The Myth of the Red and the Brown

Screw Flanders