Definition and Examples of Analysis in Composition

By Suziblu @busybeeSI
Date: 2017-04-11 08:22 More videos "Tiny furniture essay definition wiki"

Pallid day (when nothing shines by its own light) slinks &amp insinuates &amp suggests that we compromise with a sad &amp lackluster reality. But in dream we are never ruled except by love or sorcery, which are the skills of chaotes &amp sultans.

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We spurn knee-jerk anti-Tech anarchism--for ourselves, at least (there exist some who enjoy farming, or so one hears)--and we reject the concept of the Technological Fix as well. For us all forms of determinism appear equally vapid--we're slaves of neither our genes nor our machines. What is natural is what we imagine &amp create. Nature has no Laws--only habits.

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The audience reaction or aesthetic-shock produced by PT ought to be at least as strong as the emotion of terror-- powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst--no matter whether the PT is aimed at one person or many, no matter whether it is signed or anonymous, if it does not change someone's life (aside from the artist) it fails.

THE COMMON READER--FIRST SERIES

Life for us belongs neither to the Past--that land of famous ghosts hoarding their tarnished grave- goods--nor to the Future, whose bulbbrained mutant citizens guard so jealously the secrets of immortality, faster-than- light flight, designer genes &amp the withering of the State. Aut nunc aut nihil. Each moment contains an eternity to be penetrated--yet we lose ourselves in visions seen through corpses' eyes, or in nostalgia for unborn perfections.

WE HAVE NO DESIRE to define the TAZ or to elaborate dogmas about how it must be created. Our contention is rather that it has been created, will be created, and is being created. Therefore it would prove more valuable and interesting to look at some TAZs past and present, and to speculate about future manifestations by evoking a few prototypes we may be able to gauge the potential scope of the complex, and perhaps even get a glimpse of an archetype. Rather than attempt any sort of encyclopaedism we'll adopt a scatter-shot technique, a mosaic of glimpses, beginning quite arbitrarily with the 66th-67th centuries and the settlement of the New World.

JUSTICE CANNOT BE OBTAINED under any Law--action in accord with spontaneous nature, action which is just, cannot be defined by dogma. The crimes advocated in these broadsheets cannot be committed against self or other but only against the mordant crystallization of Ideas into structures of poisonous Thrones &amp Dominations.

That is, not crimes against nature or humanity but crimes by legal fiat. Sooner or later the uncovering &amp unveiling of self/nature transmogrifies a person into a brigand--like stepping into another world then returning to this one to discover you've been declared a traitor, heretic, exile. The Law waits for you to stumble on a mode of being, a soul different from the FDA-approved purple-stamped standard dead meat--&amp as soon as you begin to act in harmony with nature the Law garottes &amp strangles you--so don't play the blessed liberal middleclass martyr--accept the fact that you're a criminal &amp be prepared to act like one.

Advertising, using Surrealism's colonization of the unconscious to create desire, leads to the final implosion of Surrealism. It's not just a damn shame &amp a disgrace, not a simple appropriation. Surrealism was made for advertising, for commodification. Surrealism is in fact a betrayal of desire.

Amour fou involves non-ordinary sexuality the way sorcery demands non-ordinary consciousness. The anglo-saxon post- Protestant world channels all its suppressed sensuality into advertising &amp splits itself into clashing mobs: hysterical prudes vs promiscuous clones &amp former-ex-singles. AF doesn't want to join anyone's army, it takes no part in the Gender Wars, it is bored by equal opportunity employment (in fact it refuses to work for a living), it doesn't complain, doesn't explain, never votes &amp never pays taxes.

NK: I think with poetry the form is much more apparent and clear going out. You&rsquo ll have stanzas and line breaks there is a certain attentiveness and clarity about formal tradition that novels don&rsquo t have. When you think about novels, all you can really say about them is that they&rsquo re long. They begin, and they end. The prose usually covers the pages, but sometimes it doesn&rsquo t. It&rsquo s very unclear what a novel wants to be. It&rsquo s kind of amazing that it doesn&rsquo t paralyze us setting out because the possibilities are so vast.

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