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Topic: A List Of My Unpublished Academic Papers Currently Under Peer Review  (Read 541 times)

Spooks

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ASEXUALITY'S PLACE IN THE QUEER, URBANDICTIONARY MANIFOLD:
AN INTERSECTIONAL AND INTRASEXUAL APPROACH


Ida N. Wannit
Visiting Scientist in Linguistic & Cunnilinguistic Studies, Propercunt University of Adelaide, Australia, [email protected]

Abstract: Urbandictionary, as a manifold space constituted by linguistic paradigms of explication, is a telling microcosm of self-edification for language users and semantic natural selection for the terms themselves, existing in the cultural milieu as they do. This paper reviews previous literature on the subject of sexual coefficients to Urbandictionary's defined terms (Standon, 2004, Rection, 2006, Bigtoe, 2007, Clips von Sale et al., 2007) and explores the queer capacity of this possibility space as it bears on the deviant interjection of asexuality in terms such as "asexy sex" and "asexuul". Several avenues of approach are considered, including the intrasexual principle of linguistic asexuality. The connotations of promiscuity in the term "retrograde" ejaculation are rejected in favor of an intersectional astrological significance, supported by empirical feng shui research (Mymom, 2016, Lukistarr et al., 2017, Johnson & Johnson, 1992). The possibility of further queering the Urbandictionary manifold space are laid out  in qualia res a marxist approach considering a borugeoise sexual class promulgating sexual terminology propaganda to oppress the proletariat (termed in this paper the "zimatariat"). In view of this paradigm, rusty trombones, exemplum gravitas, are simply advised to be rinsed with white vinegar to return them to working condition. This paper also touches on the significance of cake, ipso facto its phenomenological, ontological, illogical and tautological significance.

Keywords: Queer discourse, intersectionality, asexuality, social criticism, sociology, marxism, amarxism, asexual market value, retrograde ejaculation, ajaculation, feng shui, rusty trombone
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Spooks

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THE GIVE AND TAKE OF THE STEALING ACT

Nick Stuff & Robert Lee B. Longings
Professors Emercantilicus, Applied Economics department, Paper Planes University of Detroit, Michigan, [email protected]

Abstract: The current state of Western society has alienated modern man from many of his previously involved daily activities. This paper re-examines, and seeks a way to re-introduce, man's involvement in what we term "the stealing act" — acts of mugging, whether it be back alley, 7/11, or getting ripped off by a cab driver types of uneven economic forced exchange.

The power relations of the act are examined in part one, including acts of "entanglement" such as bargaining, physical contact and the value propositions of certain variants of the exchange eg. physical goods vs. physical wounds. A tentative framework is proposed for the diversification of the stealing act, whereby the victim is encouraged to, in turn, receive the physical goods from the attacker and for the attacker to receive physical wounds. Previous literature on the subject is reviewed (Kundalini, 1977, Durst et al., 2000, Cooper & Heist, 1971) and it is shown how earlier idealist and transcendentalist notions of exchange diversification in the form of the introduction of effectuating items such as psychological wounds, psychic goods and virtual currency (V-bucks, Neopoints etc., see West, 2008 and 2014 for more) are able to be superceded by our framework of direct material action without sacrificing the essential structure of the mugging.

In part two of the paper, we gloss over several published long-term studies available in the literature (eg. Berlusconi, 2008-2016, Tweeter, Paypig et al, 2007 - present) and provide a critical monster cockysis of the effectiveness of mass stealing acts. Modernity, already our starting point, frames our scope in such a way where it is possible, and indeed required, to think of the stealing act in economic and statistical terms, and the ways individuals can best take hold of these dynamics to their gain. A triangulated structure is proposed, with the individual at the apex of the triangle and the mass at cascading levels underneath. This prismatic schematic has, interestingly enough, already been outlined by Herbert Life and A. von Mascara in their seminal meteorological work "Making it Rain"; here we hope to marry their seemingly distant domain of study with ours to fruitful results. Terry T. Sixchambers' "Cream Get The Money — Fluid Mechanics and its Place in Economics" also infuences our argumentation in this chapter heavily.

We close out the paper with an afterword addressing criticism by Haters (Haters, 2009, Haters & Simps, 2011, 2012, Haters & Hoes, 2014, 2016, 2018) directed at our intersectional economic model of stealing act diversification. Our stance remains the same and we remain unconvinced by Haters' arguments but we still extend our thanks to their continued engagement with the field of study, noting how they, in many ways, do get us going and striving ever towards further refinements of our theories.

We wish to dedicate this paper to Claude Chaser (1996 - 2018), noted esthetician, neoliberal neoeconomicist neoecofascist and TikTok statistician. His works have been highly influential in our pursuit of novel ways to steal. This paper has been funded by a grant from the Claude Chaser and Anita E. Gurle Foundation For Neoliberal Enrichment.

Keywords: Economic theory, economic practice, stealing act, interpersonal relations, prismatic schematics, triangular engrams, dolla dolla bills, power dynamics, modern, post-modern, post-malone, posting on tiktok
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« Last Edit: March 19, 2020, 05:52:20 pm by Spooks »

Spooks

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ANONYMOUS MEMETIC ART OF THE 21ST CENTURY

Ihaas Chisseburg & Notti von Dømmusik
Online Moderators, Ian Douglas Smith Institute of Art History, Modern History, Post-Modern History and View User Post History, Copenhagen, Denmark. [email protected]

Abstract: In 1550, Giorgio Vasari published The Lives of the Most Excellent Painters, Sculptors, and Architects, a comprehensive treatise on Early Renaissance artists. Many have criticised the work since, taking Vasari to task for his biases, lamenting how he presented future generations with a narrativized version of the past rather than some objective truth (as if we, today, would have a yardstick to measure its objectivity by). It is contemptible that such critics still exist. We should be glad, if anything, that Vasari managed to supply biographies for as many artists as he did, for countless more doubtless remain unknown, practically forgotten to history. This should be the real source of contempt for all of us.

The art historian of the modern era has a far greater ability to preserve information and propagate it to future generations but his work is by no means easier. The profusion and rate of information exchange on the Internet makes history slippery, hard to track and verify. Stonehenge is perhaps the most famous piece of ancient anonymous architecture. The mystery of its authors remains with us even today. We can say, beyond a shadow of a doubt, that the modern Stonehenges are internet memes. Think about it. Who made the Feels Good Man Frog? What about the This Is Fine Dog? Sadly, these questions, too, we may never find a definitive answer to. We need not give up completely, however. Revealing the authorship of such memetic art is the goal of this paper.

Our investigation opens with historical antecedents to memetic art in the 21st century. Richard Dawkins' The Selfish Gene is reviewed as well as some more of his recent online publications (@RichardDawkins, Twitter, 2018, 2019, 2020). Tools of the trade are considered. Much as prehistoric man's medium determined what he could do, Microsoft Paint is given a thorough review of, noting how in many ways its constraints facilitated the exact type of prototypical anonymous memetic art that defined the rest of meme art history. Here we compare Le Corbusier to Le Rage Comics as a preliminary case in point for the rest of the paper.

The middle of our investigation continues the thread set up at the start and considers file format artifact compression as a selective pressure for the evolution of memetic art (Darwin, 1859, Joint Photographic Experts Group, 1992). Following are two case studies: textual monster cockysis on two anonymous memes is performed to better determine how they may have come about and what they can tell us about their authors. Epic Fail Guy (2006) is considered, the author's socioeconomic status is hinted at by the use of MS Paint, the particular skull shape of the Guy's face is ran through state-of-the-art San Francisco-based phrenology apps in order to determine bloodline purity and country of origin, and emergent folklore as well as cultural impact is finally examined. Next, When U Mom Com Home And Make Hte Spagheti (2011) is traced to its origin in Tumblr blog "familyfriendlyurl". An example of the modern equivalent of traditional "outsider art", their bio is read and checked against common mental illnesses in the DSM II1 to find any possible disorders that might've influenced this memetic artwork. Their AO3 account is reviewed and possible connections between Supernatural omega-verse fiction and dancing green aliens are tentatively established, in order to fit this author's artworks into a larger superstructure (see Henry Darger and his cosmology). Finally, in this main body of our paper, we consider briefly the harmful ideologies and propagandizing that memetic art can turn to. The short-lived "BLM" meme is examined, as well as the contemptible Bernie Sanders memes of recent memory (for more information see K. Farms, 2011 to present).

Lastly, we give account of our to-date successes at identifying memetic art works and their authors, with a comprehensive list of identified artworks such as: Lady with an Ermergerd, The Treachery of Animes (Ceci n'est pas une fille), Pickle Rick Devouring his Grandson, American Goffik, The School of Athene, Arrangement in Sierra and Purple No.1 (Cream's Mother) and others. Parenthetically, note that all artworks here are dated by our new BG/AG method, meant to supplant the BC/AD terminology. We deem GamerGate to be of such momentous importance in modern Online history that we've thought it fitting to separate the new internet era AG (After GamerGate) from anything else that came before it. Though not in the scope of this paper, we have written about the parallel importance of the birth of Christ and the creation of Vivian James elsewhere (Chisseburg & Dømmusik, 2016, but see also HimmlerThot88, 2017, for criticisms and fanart).

In a way Vasari's Vite, to use the parlance of our times, "doxxed" the Renaissance's greatest painters and architects. He "provided receipts" and "spilled tea". It is our earnest hope, with this paper, to "doxx" every single person who created memes online in order to find invaluable information about them such as gender and social media accounts (instagram handles, private photos, etc.) or, perhaps even more importantly, political affiliations and ethnicity. We hope to catalogue all of these data into a comprehensive online list that anyone can "hit" for an instant shot of information. This preservation effort will surely engender an even better quality (and subject matter of) memetics over the decades to come. Whosoever does not remember his history, after all, is doomed to repeat it.

This paper was made possible through a grant by the Center for American Progress. We are indebted to their support.

1We use DSM II for reference in this paper due to its accuracy. The DSM III-R, published in 1987 (and subsequent versions afterwards) contain several contra-factual additions that prevent us from using the literature fully (see B. Pigeonspeaks, 2017, 2019)

Keywords: memetic art, modern art history, evolutionary biology, richard dawkins, cultural studies, wow, epic, win, cutForBieber, political bias, narrativising history
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« Last Edit: September 04, 2020, 06:15:56 pm by Spooks »

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FOGHORN LEGHORN, THE ID OF AMERICAN SUBCONSCIOUSNESS

Isaiah Isaiah
Cartoon Prophet, tenured, California Institute of the Arts, Santa Clarita, California, [email protected]

Abstract: The present paper explores the character of Foghorn Leghorn and his bearing on past, present and future american culture. Foghorn's common phrases "Now listen to me, son!" and "You've got it all wrong, son!" are emblematic of the common patriarchal drive present in mid-20th century society. It is no wonder that he is the "tallest cock" among the cast of Looney Tunes, for this veritable inversion of the Oedipal Complex, haunting over 20 of this highly psychosexual show's episodes, can be, indeed should be, viewed as a powerful synecdoche of the cartoonist's virile drive towards inseminating american culture with a specific type of egoist supremacy.

The paper details the numerous fights between Foghorn Leghorn and Barnyard Dawg, a metaphorical depiction of Eros and Thanatos, forever entwined in mutual annihilation. Whereas other contemporary american cartoons would depict this trope under some pedestrian pretense, however, Foghorn's character makes no excuses at morality or anything other than self-indulgence when engaging in this cross-species rivalry. He clearly seeks to destroy Dawg for his own self-actualization, hence he is as much Eros as he is the burning face of the id: completely self-serving, cohabitating an outwardly responsive self with a completely uninhibited and un-self-aware penchant for physical violence, phallically pointed and driven, and linguistically fixated on male progeny.

The importance of Henery Hawk is not glossed over as he completes the triad of "id, ego and superego". Where Dawg (male, but plausibly read as a "bitch" in more ways than one) clearly stands for the passive, socially malleable superego that Leghorn seeks to engulf in all-consuming psychosexual coitus, Henery Hawk mediates between the two as the "ego" of self-serving, goal oriented "hunting after chicks" mentality on display. His small stature (see Freud on "penis envy", 1914), continuous failures and inability to enlist Dawg's help effectively in order to achieve, basically, Foghorn's inherited purpose, reveal him to be a flaccid and ultimately useless part of the human psyche.

Here, a most important ideological point is being made. Looney Tunes becomes the Stirner Tune. The egoist should not bow to outside social anxieties (“The ego is the actual seat of anxiety”, Freud, Ibid.) but be penetrated fully by the id, letting all spooks burn and vanish in its radiant light. Of note here is Foghorn's constant chipper attitude, his minstrel song humming and complete indifference to the lashes and vicissitudes of fortune. He is the american Übermensch, the Looniest and at the same time Sanest, cast member of the veritable Warner Brothers treatise on the human condition.

The paper rounds up the future prospects of western animation and what Foghorn's legacy can bequeath to future animators and show-runners. As tenured professor and cartoon prophet at Calarts, I furnish students and educators here with tentative, inventive ways, with which they can propagate an anti-castration, pro-self-actualization, patriotic (German) ideological programme of neo-gnostic spirituality and philosophical sexuality, digestible by watchers between the ages of 8 and 14 years old, but impenetrable to older viewers (parents, censor board members, etc).

This paper, while published on its own in select scientific journals, is a part of a larger, unpublished work. "Thus Spoke Leghorn Rooster", I. Isaiah, is forthcoming and should enter print by 2022. I would like to thank fellow colleagues Porky Piegtzche and Carl Gustav Duck for providing criticisms on the first draft of this work.

Keywords: freud, psychomonster cockysis, thus spoke leghorn rooster, stirner, looney tunes, western aesthetic theory, acme science
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