Post Modernism goes to Sesame Street

I've decided to take a short break from writing the Isle of Isms series and instead concentrate on some solo pieces for one of my favourite characters: "Post Modernism". For those who have been following the Isle of Isms series, you'll see that "Post Modernism" is a rather disconnected character that is around but never truly there. He says a lot but never says anything. A random, meaningless and undefinable person. And all the other isms find him rather annoying because of his lack of sense and coherent meaning. Well, seeing as he is such an interesting and unique character, I thought I'd develop him further by giving him his own personal adventures.


Big Bird: Hello kids! Today we’ve got a visitor in Sesame Street! Give a nice big hello to Mister Post Modernism!

A bunch of kids: HELLO MISTER POST MODERNISM!

Post Modernism: Bataille suggests the use of the postcultural paradigm of narrative to attack the status quo.

Big Bird: Wow. That’s a bunch of big words you got there Mister Post Modernism. Perhaps you could teach us a word or two? Would you like that kids?

A bunch of kids: YAY! Come on Mister Post Modernism teach us some words!

Post Modernism: The main theme of Geoffrey’s model of the postcultural paradigm of narrative is the difference between society and sexual identity. Several narratives concerning a capitalist reality may be revealed.

Big Bird: Woah woah slow down there Mister Post Modernism and you’re not supposed to mention the word sex on Sesame Street!

A bunch of kids: Ooohhh naughty Mister Post Modernism said the word sex!

Big Bird: Ok kids, you’re not supposed to say the word sex alright? This is a children’s show!

A bunch of kids: Ok Big Bird!

Oscar the Grouch: What’s all that racket! I’m trying to sleep here!

Post Modernism: In the works of Stone, a predominant concept is the concept of preconceptualist art. Thus, the example of subdialectic nihilism intrinsic to Stone’s Platoon emerges again in Natural Born Killers, although in a more mythopoetical sense. Foucault suggests the use of Sontagist camp to challenge the status quo.

Oscar the Grouch: HEY YOU! Yes, you. SHUT UP!

Big Bird: Aww Oscar don’t be so mean... he’s new and his name is Mister Post Modernism!

Oscar the Grouch: Bah! I don’t care what his name is. He can’t shut his trap.

Post Modernism: It could be said that Baudrillard’s model of constructivist neocapitalist theory suggests that sexuality, perhaps surprisingly, has significance, but only if truth is distinct from culture; if that is not the case, the media is used in the service of capitalism. If semiotic prestructuralist theory holds, the works of Stone are empowering.

Oscar the Grouch: Bah! See what I mean? Can’t a grouch get some decent shuteye for goodness sake...

Big Bird: Yeah... he’s a little weird. But I kinda like Mister Post Modernism... don’t you kids?

A bunch of kids: Yes! We love Mister Post Modernism!

Post Modernism: “Sexual identity is fundamentally unattainable,” says Foucault; however, according to von Ludwig, it is not so much sexual identity that is fundamentally unattainable, but rather the rubicon, and eventually the paradigm, of sexual identity.

A bunch of kids: Oh no! Naughty Mister Post Modernism said sex again! Heeheehee!

Big Bird: Oh dear Mister Post Modernism... we’re really really not supposed to say the “s” word on Sesame Street!

Post Modernism: Society is fundamentally used in the service of sexism,” says Sontag. However, neocapitalist discourse states that culture is used to entrench class divisions, given that truth is distinct from sexuality.

Producer: Alright. Dude. We’ve told you, this is a children’s show. If you can’t adhere to the rules then we’re putting you off air.

Post Modernism: The primary theme of Long’s critique of Debordist situation is the common ground between culture and sexual identity. “Sexual identity is meaningless,” says Lyotard.

Producer: Ok I’ve had it. Call security. Get him out of here.

*Two security personnel drag Post Modernism off the set*

Post Modernism: If Debordist situation holds, we have to choose between nationalism and dialectic subconstructivist theory. It could be said that Foucault uses the term ‘Debordist situation’ to denote the difference between language and class.

Big Bird: Alright kids! Say goodbye to Mister Post Modernism as he is dragged away for violating the minds of our future generations!

A bunch of kids: GOODBYE MISTER POST MODERNISM!

Post Modernism: “Class is used in the service of class divisions,” says Debord; however, according to Hubbard, it is not so much class that is used in the service of class divisions, but rather the failure of class. If neocapitalist discourse holds, the works of Joyce are not postmodern. Therefore, a number of theories concerning the role of the participant as artist exist. La Tournier suggests that we have to choose between deconstructive nationalism and precultural deappropriation. However, Marx promotes the use of prematerialist Marxism to attack archaic perceptions of sexuality.

Producer: Seriously dude. Please shut that piehole of yours before I shove the Snuffleupagus costume up your ass.

Post Modernism: “Class is part of the fatal flaw of consciousness,” says Derrida; however, according to Dahmus , it is not so much class that is part of the fatal flaw of consciousness, but rather the absurdity, and some would say the economy, of class. The characteristic theme of the works of Spelling is the absurdity of postcultural sexuality. In a sense, the subject is interpolated into a that includes art as a totality. The primary theme of Brophy’s critique of cultural discourse is a self-justifying reality. Lacan uses the term ‘Lyotardist narrative’ to denote the stasis, and some would say the genre, of deconstructivist class. It could be said that the main theme of the works of Fellini is the role of the poet as participant. If one examines neocultural theory, one is faced with a choice: either reject Lyotardist narrative or conclude that sexuality is intrinsically a legal fiction, but only if the premise of expressionism is invalid; otherwise, culture may be used to entrench sexism. Cultural discourse holds that the State is responsible for hierarchy, given that language is equal to narrativity. However, several discourses concerning the economy, and eventually the genre, of capitalist culture may be discovered. “Class is part of the paradigm of truth,” says Debord; however, according to Dahmus, it is not so much class that is part of the paradigm of truth, but rather the absurdity, and some would say the economy, of class. Sartre uses the term ‘the subconceptual paradigm of discourse’ to denote the common ground between sexual identity and society. It could be said that Reicher implies that we have to choose between expressionism and Lacanist obscurity.

Producer: Sigh... I hate my job.



- The State of Nonsense -