Apep javascript port of Andrew C. Bulhak's Post modernism generator Dada Engine Text Generator.
Currently just hooked up for demonstration purposes to print text to the console:
$ npm install
$ node index.jsMichel Brophy Department of Literature, University of Massachusetts, Amherst Charles K. Drucker Department of Sociolinguistics, Oxford University Paul Humphrey Department of Ontology, Massachusetts Institute of Technology
In the works of Gibson, a predominant concept is the concept of textual language. But the characteristic theme of the works of Gibson is the role of the writer as artist. In a sense, the main theme of Humphrey's [1] model of textual modern theory is a mythopoetical whole.
Thus, a number of theories concerning the futility, and some would say the stasis, of dialectic sexual identity may be found. The subject is contextualised into a textual modern theory that includes truth as a whole. The characteristic theme of the works of Gibson is not sublimation, as Derrida would have it, but subtheory. In a sense, Debord suggests the use of modern textual theory to attack and modify class. The subject is interpolated into a postcultural capitalism that includes culture as a paradox. Thus, Lacan's analysis of postcultural capitalism holds that discourse is a product of communication, but only if postcapitalist deconstruction is invalid; otherwise, Foucault's model of textual modern theory is one of "postdialectic materialism", and therefore meaningless. Marx suggests the use of textual modern theory to read sexual identity. In a sense, the primary theme of Geoffrey's [2] analysis of postcultural capitalism is not discourse, as textual modern theory suggests, but neoconstruction. Marx's analysis of subcapitalist narrative holds that language has significance, given that language is distinct from reality. In a sense, if the constructivist paradigm of context holds, we have to choose between textual modern theory and subtextual deappropriation.
The primary theme of la Fournier's [3] essay on precultural posttextual theory is not, in fact, narrative, but neonarrative. But the subject is contextualised into a textual modern theory that includes language as a totality.
The main theme of the works of Gibson is the difference between class and language. In a sense, in Virtual Light, Gibson denies postcultural capitalism; in Neuromancer Gibson denies textual modern theory.
"Sexual identity is meaningless," says Baudrillard; however, according to Prinn [4] , it is not so much society that is unattainable, but rather the dialectic, and some would say the genre, of culture. The subject is contextualised into a postcultural capitalism that includes consciousness as a paradox. Sontag suggests the use of textual modern theory to deconstruct hierarchy. But Hubbard [5] suggests that we have to choose between textual modern theory and postcultural capitalism. The primary theme of Drucker's [6] critique of textual modern theory is a modernist totality.
In the works of Gibson, a predominant concept is the distinction between feminine and masculine. An abundance of desconstructions concerning prepatriarchialist patriarchialism exist. Therefore, Foucault suggests the use of textual modern theory to attack sexism.
"Class is fundamentally elitist," says Bataille; however, according to Tilton [7] , it is not so much society that is fundamentally meaningless, but rather the meaninglessness, and eventually the paradigm, of class. In a sense, the primary theme of the works of Gibson is the role of the reader as writer. If postcultural capitalism holds, the works of Gibson are modernistic. But Debord uses the term 'subtextual discourse' to denote a neocultural totality.
"Sexuality is part of the meaninglessness of consciousness," says Lacan. Thus, if textual modern theory holds, we have to choose between subtextual deconstruction and textual modern theory. Derrida promotes the use of textual modern theory to attack class. Therefore, Debord suggests the use of the neotextual paradigm of expression to analyse and read class.
If one examines semioticist narrative, one is faced with a choice: either reject textual modern theory or conclude that the law is capable of intentionality. In a sense, the example of textual modern theory prevalent in Mona Lisa Overdrive is also evident in Virtual Light, although in a more self-justifying sense.
Bataille promotes the use of postcultural capitalism to challenge capitalism. Derrida suggests the use of textual modern theory to challenge hierarchy. The primary theme of Hubbard's [8] critique of postcultural capitalism is the futility, and eventually the defining characteristic, of prematerial class. Therefore, an abundance of discourses concerning not discourse, as Lacan would have it, but postdiscourse may be revealed. But in Neuromancer, Gibson reiterates postcultural capitalism; in The Burning Chrome, however, Gibson deconstructs neocultural theory.
An abundance of theories concerning the difference between society and society may be revealed. The premise of postcultural capitalism implies that reality is created by the collective unconscious. Any number of appropriations concerning textual modern theory may be discovered. Debord uses the term 'textual modern theory' to denote the meaninglessness, and some would say the futility, of cultural sexual identity.
The example of postcultural capitalism which is a central theme of Virtual Light is also evident in The Burning Chrome.
Bataille suggests the use of textual modern theory to deconstruct the status quo. But in Mona Lisa Overdrive, Gibson denies textual modern theory; in Mona Lisa Overdrive, however, Gibson reiterates precultural situationism.
But Parry [9] states that we have to choose between textual modern theory and postcultural capitalism. The primary theme of von Junz's [10] essay on postcultural capitalism is the absurdity, and subsequent failure, of constructivist sexual identity. The primary theme of the works of Gibson is a mythopoetical whole.
The subject is interpolated into a textual modern theory that includes art as a reality. Sontag promotes the use of textual modern theory to read sexual identity. Therefore, the main theme of Drucker's [11] critique of textual modern theory is not deconstruction, as textual modern theory suggests, but subnarrative. In Virtual Light, Gibson analyses textual modern theory; in Virtual Light, however, Gibson examines posttextual theory. In a sense, the characteristic theme of the works of Gibson is the bridge between society and class.
Derrida uses the term 'textual modern theory' to denote the role of the artist as participant. The primary theme of la Tournier's [12] analysis of Foucaultist absurdity is a cultural reality.
Sartre uses the term 'textual modern theory' to denote the dialectic, and eventually the meaninglessness, of semantic society.
"Class is used in the service of capitalism," says Lacan; however, according to Buxton [13] , it is not so much class that is intrinsically a legal fiction, but rather the meaninglessness of art. If capitalist deappropriation holds, the works of Gibson are empowering. Derrida promotes the use of textual modern theory to challenge the status quo.
In the works of Gibson, a predominant concept is the concept of capitalist truth. The characteristic theme of the works of Gibson is the role of the writer as observer. But the main theme of Brophy's [14] analysis of textual modern theory is not deappropriation, but subtheory. However, the characteristic theme of Finnis's [15] analysis of textual modern theory is the difference between class and society. However, Derrida uses the term 'textual modern theory' to denote not, in fact, materialism, but neonarrative.
"Sexual identity is part of the paradigm of reality," says Lyotard. Sartre uses the term 'textual modern theory' to denote a mythopoetical reality. Sartre suggests the use of semanticist narrative to attack class divisions.
The primary theme of Dietrich's [16] critique of postcultural capitalism is the difference between class and reality. Therefore, if postcultural capitalism holds, we have to choose between postcultural capitalism and textual modern theory.
If one examines textual modern theory, one is faced with a choice: either accept Sartreist camp or conclude that the collective is capable of truth, but only if narrativity is interchangeable with truth; if that is not the case, art is intrinsically a legal fiction. However, several narratives concerning textual modern theory exist.
If one examines textual modern theory, one is faced with a choice: either accept postcultural capitalism or conclude that sexuality is part of the absurdity of consciousness, given that culture is distinct from truth. However, any number of sublimations concerning postcultural capitalism may be discovered.
The main theme of the works of Gibson is the role of the observer as writer. The opening/closing distinction intrinsic to Neuromancer is also evident in Virtual Light. Lacan uses the term 'textual modern theory' to denote not, in fact, demodernism, but subdesublimation. In a sense, Brophy [17] holds that the works of Gibson are not postmodern.
"Class is fundamentally a legal fiction," says Lacan. If the cultural paradigm of context holds, we have to choose between textual modern theory and textual modern theory. Bataille promotes the use of textual modern theory to challenge sexism. Sartre uses the term 'pretextual modernist theory' to denote not discourse, but subdeconstruction. Therefore, Sontag uses the term 'textual modern theory' to denote the role of the writer as participant. Many materialisms concerning postcultural capitalism may be discovered. However, the premise of textual modern theory suggests that the media is impossible, given that truth is interchangeable with narrativity. However, if textual modern theory holds, the works of Gibson are reminiscent of Cage. The subject is contextualised into a textual modern theory that includes sexuality as a reality. In a sense, Lyotard uses the term 'postcultural capitalism' to denote the role of the poet as observer. In a sense, the subject is interpolated into a postcultural capitalism that includes truth as a paradox. The primary theme of the works of Gibson is the common ground between class and society.
Baudrillard uses the term 'textual modern theory' to denote not semanticism, but subdematerialism. Several theories concerning not construction, as postcultural capitalism suggests, but postnarrative may be revealed.
If textual modern theory holds, we have to choose between postcultural capitalism and textual modern theory.
The neotextual paradigm of reality suggests that the goal of the poet is social comment, given that postcultural capitalism is invalid.
Bataille suggests the use of Sontagist obscurity to deconstruct sexism. It could be said that the example of cultural neocultural theory prevalent in Virtual Light is also evident in Mona Lisa Overdrive, although in a more mythopoetical sense. However, an abundance of narratives concerning the bridge between society and sexual identity may be found.
Debord's model of the neomodern paradigm of narrative holds that language is a legal fiction.
But the closing/ground distinction intrinsic to Virtual Light emerges again in The Burning Chrome.
Thus, the main theme of McElwaine's [18] analysis of cultural discourse is a self-justifying reality.
It could be said that Foucault suggests the use of textual modern theory to read class.
If patriarchial libertarianism holds, the works of Gibson are an example of semanticist nationalism. It could be said that Foucault uses the term 'neopatriarchial narrative' to denote the stasis of cultural class.
Therefore, an abundance of situationisms concerning not, in fact, narrative, but subnarrative exist. But Foucault's model of neodialectic materialism suggests that the law is capable of significance.
"Class is intrinsically dead," says Derrida. In a sense, if postcultural capitalism holds, we have to choose between Debordist reading and Batailleist camp. An abundance of desmaterialisms concerning textual modern theory exist.
Several discourses concerning not, in fact, construction, but subdiscourse may be revealed.
It could be said that Derrida uses the term 'precultural situationism' to denote the dialectic, and eventually the economy, of dialectic sexual identity. Marx's analysis of Sartreist panopticon states that language is used to reinforce capitalism.
- Humphrey, R. D. ed. (1978) Postmodern Sublimations: Textual modern theory in the works of Gibson. And/Or Press
- Geoffrey, Z. M. (1970) Postcultural capitalism in the works of Gibson. University of California Press
- la Fournier, Y. I. I. (1989) Constructivist Desappropriations: Textual modern theory and postcultural capitalism. University of Illinois Press
- Prinn, N. N. ed. (1974) The Failure of Sexual identity: Batailleist narrative, postcultural capitalism and textual modern theory. Harvard University Press
- Hubbard, H. ed. (1984) Textual modern theory in the works of Gibson. Schlangekraft
- Drucker, A. Z. N. (1987) Deconstructing Constructivism: Textual modern theory in the works of Gibson. And/Or Press
- Tilton, A. (1972) Textual modern theory in the works of Gibson. Schlangekraft
- Hubbard, M. T. ed. (1981) Postcultural capitalism and textual modern theory. Harvard University Press
- Parry, Y. P. (1987) Postcultural capitalism in the works of Eco. University of Michigan Press
- von Junz, U. Y. M. (1975) Textual modern theory, postcultural capitalism and dialectic postcultural theory. Loompanics
- Drucker, U. Q. (1979) The Meaninglessness of Sexual identity: Postcultural capitalism, subtextual desituationism and textual modern theory. Schlangekraft
- la Tournier, C. (1975) The Burning Sky: Postcultural capitalism and textual modern theory. O'Reilly & Associates
- Buxton, M. J. Q. (1982) The Consensus of Collapse: Postcultural capitalism in the works of Gibson. And/Or Press
- Brophy, O. A. ed. (1971) Subdialectic narrative, textual modern theory and postcultural capitalism. Panic Button Books
- Finnis, V. L. ed. (1977) The Burning Sea: Textual modern theory in the works of Gibson. O'Reilly & Associates
- Dietrich, J. F. (1977) Subcapitalist Discourses: Postcultural capitalism in the works of Tarantino. And/Or Press
- Brophy, F. A. ed. (1981) Postcultural capitalism and textual modern theory. University of Illinois Press
- McElwaine, Q. F. P. ed. (1977) Deconstructing Lyotard: Textual modern theory and postcultural capitalism. And/Or Press