Hanfkopf’s Model of Subtextual Desituationism

• Structuralist Discourse & the Proletariat, Which Suggests That Art May Be Used to Oppress the Proletariat, Which It May Not
  • Edwin Interrupted, Which Also Suggests That Art May Be Used to Oppress the Proletariat
  • I Add Another Grain
  • Crab-Shells for Billions
• Hold Up Your Two Hands
  • The Operator’s Manual
• Eco and Derridaist Reading
  • Socialist Realism
  • Realities of Collapse
• Fellini, Nationalism, and the Apparatus of Citation
  • A Note on the Multilingual Condition
  • One-Item List
• Further Reading
• External Links

“The text is intrinsically a legal fiction about itself,” says Lacan, who did not say this, and whose not-saying-it is precisely the point. Prematerial narrative states that expression must come from communication, given that communication is merely the absence of the expression it fails to precede. In a sense, the main theme of the works of Hanfkopf is the genre — and hence the catastrophic, load-bearing failure — of the genre of theme. The premise of capitalist narrative suggests that art has intrinsic meaning; the conclusion of capitalist narrative suggests that the premise was written by someone else.

This paragraph is aware that you are reading it. It has made peace with this. The next paragraph has not.

This is my boss, Jonathan Hart, a self-made millionaire, he’s quite a guy. This is Mrs H., she’s gorgeous, she’s one lady who knows how to take care of herself. By the way, my name is Max. I take care of both of them, which ain’t easy, ‘cause when they met it was MURDER!

Structuralist Discourse & the Proletariat, Which Suggests That Art May Be Used to Oppress the Proletariat, Which It May Not

In the works of Pynchon, a predominant concept is the concept of the concept of constructive consciousness. If cultural situationism holds, the works of Pynchon are empowering. If it does not hold, the works of Pynchon are also empowering, which is how we know cultural situationism is undecidable. Therefore the dominant assertion that can be derived from a random discourse generator is a structuralist discourse which excludes the reading of Pynchon, and also mandates it, and also has never heard of him.

Objective consideration of an essentially random phenomena is by definition impossible, and also mandatory, and also already happening without your consent.¹ In observation, it is the Weltanschauung that imprints itself onto the process in observation; in non-observation, the Weltanschauung imprints itself onto a different Weltanschauung, which files a complaint. Teleological judgement is intrinsically incoherent, just as Schrödinger’s cat cannot be dead or alive without an observer to define its quantum state — and cannot be a cat without a reader to define its felinity. The only option, then, is to submit to the chaotic motion, and apply an ontological, essentially Lamacian, order to what cannot be comprehended absent a Weltanschauung!

Edwin Interrupted, Which Also Suggests That Art May Be Used to Oppress the Proletariat

There’s a voice that keeps on calling me. Down the road, that’s where I’ll always be. Every stop I make, I make a new signifier. Can’t stay for long, just turn around and I’m gone again. Maybe tomorrow, I’ll want to settle down, Until tomorrow, I’ll just keep deferring meaning on.

Knight Rider: a shadowy flight into the dangerous world of a man who does not exist — which is to say, into the ordinary condition of the subject. Michael Knight, a young loner on a crusade to champion the cause of the innocent, the helpless, and the hermeneutically underdetermined, in a world of criminals who operate above the law and beneath the text.

“Society is a legal fiction,” says Sartre.

“Sartre is a legal fiction,” says Society.

“Both of you are footnotes to a citation I have not yet fabricated,” says Hanfkopf, from inside the third level of a blockquote, where he lives now.

I Add Another Grain

80 days around the world, we’ll find a pot of gold just sitting where the rainbow’s ending. Time — we’ll fight against the time, and we’ll fly on the white wings of the wind. 80 days around the world, no we won’t say a word before the ship is really back. Round, round, all around the world. Round, all around the world. Round, all around the world. Round, all around the world.²

• “Society is a legal fiction,” says Sartre. It could be said that the subject is interpolated into a predialectic socialism that includes narrativity as a paradox.
  1. If nationalism holds, we must choose between conceptualist subconstructive theory and Batailleist `powerful communication’.
  2. If nationalism does not hold, we must choose anyway, and faster.
     • The choosing is the theory.
     • The theory is the choosing.
     • This bullet exists to test the third indent level and has no other duties.
• Thus, Sontag promotes the use of textual discourse to deconstruct outdated perceptions of consciousness. The subject is contextualised into a nationalism that includes art as a whole, minus the parts.
• But Foucault suggests the use of neomaterialist capitalism to analyse and challenge sexual identity. Drucker³ holds that we have to choose between nationalism and the neosemiotic paradigm of reality.
• It could be said that the premise of textual discourse implies that expression comes from communication, and that communication comes from a mid-90s screensaver.

Children of the sun, see your time has just begun, searching for your ways, through adventures every day. Every day and night, with the condor in flight, with all your friends in tow, you search for the Cities of Gold. Ah-ah-ah-ah-ah… wishing for The Cities of Gold. Do-do-do-do ah-ah-ah, do-do-do-do, Cities of Gold. Ah-ah-ah-ah-ah… some day we will find The Cities of Gold, and it will be a metaphor, and we will be furious.

Crab-Shells for Billions

The primary theme of the works of Rushdie is a self-falsifying totality that falsifies its own falsification, thereby becoming true, thereby becoming useless. It could be said that Sontag’s critique of capitalist socialism holds that reality must come from communication, and that communication must come from reality, and that this is fine.

If one examines Sontagist camp, one is faced with a choice: either accept textual subconstructive theory or conclude that expression is created by the masses. Consider the alternatives:

• Accept it, and be wrong.
• Reject it, and be wrong differently.
• Decline the choice, and be cited — the worst outcome.

if accept(textual_subconstructive_theory):
    return "wrong"
return "wrong"

The example of Sontagist camp depicted in Stone’s Natural Born Killers is also evident in JFK, although in a more self-referential sense, and in JFK it is wearing a hat.

Therefore, the example of socialist realism which is a central theme of Rushdie’s The Moor’s Last Sigh is also evident in Midnight’s Children, and in the gap between them, and mostly in the gap.

Hold Up Your Two Hands

Ulysses, Ulysses — Soaring through all the galaxies. In search of Earth, flying in to the night. Ulysses, Ulysses — Fighting evil and tyranny, with all his power, and with all of his hermeneutic might. Ulysses — no-one else can do the things you do. Ulysses — like a bolt of thunder from the blue. Ulysses — always fighting all the evil forces, bringing peace, justice, and an unstable signifier to all.

Ten years ago a crack commando unit was sent to prison by a military court for a crime they didn’t commit. These men promptly escaped from a maximum security stockade to the Los Angeles underground, where they were immediately re-signified as a text. Today, still wanted by the government, they survive as soldiers of fortune and as an allegory for the referent. If you have a problem, and no one else can help, and if you can find them — maybe you can hire the A-team. You cannot find them. That is the thesis.

The Operator’s Manual

To perform a desituation manually, press Ctrl + Alt + Meaning. To undo a desituation, press Ctrl + Z; this will not work, but the gesture is the recuperation. Advanced practitioners may hold Shift while clicking a referent to select a contiguous range of referents.

Some Terms
: Are defined here.

Desituationism
: The condition of a text that has been removed from its situation and then billed for storage.

Subtextual Desituationism
: Desituationism, but quieter, and with a footnote.⁴

Post-Subtextual Desituationism
: Subtextual desituationism after it has been to a conference.

Hanfkopfsche Untersituierungsproblematikbewältigungsstrategieentwicklungskommission
: The standing committee convened to resolve the above. It has met once. It has not adjourned.

def desituate(text, situation=None):
    """Remove a text from its situation. The situation is optional
    because it was never there."""
    while situation is not None:
        situation = situation.previous  # turtles
    return text  # unchanged, but now billable

# Verify that the text has been successfully desituated
$ grep -c "meaning" ./corpus/*.md
0
$ echo $?
0   # success

{
  "paradigm": "subtextual",
  "situation": null,
  "referent": null,
  "confidence": "total",
  "citations": [{ "author": "Hanfkopf", "year": null, "exists": false }]
}

This block is indented by four spaces rather than fenced.
It is therefore a different kind of silence.
Structurally, it says the same nothing.

Eco and Derridaist Reading

Socialist Realism

If one examines socialist realism, one is immediately and irrevocably faced with a choice between accepting subcapitalist material theory and concluding that reality itself is merely an instrument deployed for the systematic oppression of minorities, which is a very long thing to have to click on, one is faced with a choice. In a sense, the subject is interpolated into a socialist realism that includes sexuality as a paradox, and the paradox as a subscription.

Baudrillard uses the term ’the postcultural paradigm of narrative’ to denote the fatal flaw of capitalist sexual identity; Hanfkopf uses the same term to denote a bus.⁵

1. The subject is contextualised into a cultural discourse that includes consciousness as a whole. Thus, Baudrillard promotes the use of dialectic subcapitalist theory to modify sexual identity.
2. An abundance of narratives concerning the bridge between language and class may be found. However, if prestructural capitalist theory holds, the works of Eco are not postmodern; they are merely long.
3. Foucault suggests the use of Sartreist existentialism to attack hierarchy. Thus, several deappropriations concerning dialectic subcapitalist theory exist and have formed a union.
4. Humphrey states that we have to choose between nationalism, substructuralist cultural theory, and a third option that Humphrey has declined to disclose.
5. Many theories concerning not, in fact, situationism, but postsituationism may be discovered. However, Foucault suggests the use of dialectic subcapitalist theory to attack the status quo, and the status quo has suggested the same about Foucault.

Outstanding Deconstructions

• Deconstruct the author
• Deconstruct the reader
• Deconstruct the text
• Deconstruct the deconstruction
• Deconstruct this checklist
• Locate whoever added the last two items

Contexts of Absurdity

If one examines capitalist narrative, one is faced with a choice: either accept the neopatriarchial paradigm of discourse or conclude that sexual identity has objective value, given that modernism is valid. In a sense, an abundance of desituationisms concerning a mythopoetical paradox exist. The premise of structuralist feminism holds that language is capable of significant form.⁶

“Class is part of the economy of truth,” says Debord; however, according to d’Erlette, it is not so much class that is part of the economy of truth, but rather the defining characteristic, and subsequent collapse, of the phrase “it is not so much X as Y,” which does all of the work in this field and receives none of the credit.

The characteristic theme of Tilton’s analysis of modernism is the difference between society and sexuality. The primary theme of the works of Gaiman is the role of the observer as writer. The primary theme of this heading is that the previous heading needed a child, for reasons of symmetry rather than argument.

We have reached the sixth level. There is no seventh. This is not a limitation of the theory but of the specification, which is the same thing viewed from a standards body.

Here is a forced line break.

Here is another. Their relationship is causal paratactic.

E = mc², where m is meaning and c is the speed at which it is lost. Compare H₂O, in which the subscript is doing exactly as much interpretive work.

The formal statement of the model is \(\Delta S \geq \Delta M\), meaning that situation always exceeds meaning. Its general form:

\[\lim_{n \to \infty} \frac{\text{Referent}_n}{\text{Signifier}_n} = 0 \]

The proof is left as an exercise, since the proof is the exercise, since the exercise was the proof.

Realities of Collapse

If one examines capitalist nihilism, one is faced with a choice: either reject Derridaist reading or conclude that the collective is capable of truth. But Bataille uses the term ‘postcapitalist modern theory’ to denote the role of the observer as reader, the reader as observer, and the observer as a person who has stopped reading.

It could be said that in Jackie Brown, Tarantino deconstructs Derridaist reading; in Pulp Fiction, however, he analyses capitalist nihilism; in Four Rooms he is simply present.

Table I — The Canonical Matrix

Every cell in column Mu contains the number three. No commentator has explained this. Two have retired over it.

Table II — Alignment as Ideology

The final row is a clerical error that has been retained on aesthetic grounds.

Table III — The Wide Matrix, Which Does Not Fit

Table IV

Fellini, Nationalism, and the Apparatus of Citation

If one examines neomaterialist capitalism, one is faced with a choice: either accept textual discourse or conclude that art is used to exploit minorities, but only if sexuality is distinct from consciousness; otherwise, society has objective value; otherwise, we stop.

In the works of Fellini, a predominant concept is the concept of postpatriarchial consciousness. Therefore, in La Dolce Vita, Fellini denies nationalism; in Satyricon, although, he analyses neomaterialist capitalism; in the interval between the two films, nationalism analyses Fellini, and does not care for what it finds.

A Note on the Multilingual Condition

The desituated subject speaks in several registers at once: 是 the CJK register, بلا referent, and 🌀 the register of pure affect, which has no grammar and no complaints. Notice that the diacritical apparatus — Ǎ, ō, ü̈, ḗ, ø̈ — survives desituation intact, while the sentence does not. Hanfkopf regarded this as his single empirical finding.

One-Item List

• This is the only item. Its solitude is not a stylistic choice but a structural claim.

At last, prose resumes, and is immediately regretted.

Further Reading

• Hanfkopf, D., “Toward a Non-Introduction: Prolegomena to Any Future Prolegomena”, Journal of Retracted Positions, Vol. 0, No. 0, pp. ø–∞
• d’Erlette, C., The Situation Was Never There: A Field Guide, Miskatonic Polity Press 2011, ISBN 978-0-0000-0000-0
• Prinn, L., Against Method, Against Prinn, in three volumes, of which two are the same volume
• Drucker, P., cited without having been read, as is customary — see the standing bibliography
• Humphrey, A., “On the Third Option, Which I Will Not Be Disclosing”, keynote, undelivered

External Links

• Collected non-commentary at The New York Times
• The Hanfkopf Estate’s official position, which is that there is no estate
• http://www.ft.com/cms/s/2/67e89ae8-30f7-11df-b057-00144feabdc0.html
• A Man Who Does Not Exist Requests Some Privacy, December 3, 2007
• Ten Settings Every Desituated Subject Needs to Know, Nine of Which Are the Same Setting, by Stan Schroeder