The term postmodernism is just a tag. It refers to the state of no longer having a culture. In place of culture one now has an imperative: Increase “pleasure” and decrease “pain”. With pleasure and pain being defined in the moment, and by the user.
Cedric Plumm, All Roads Lead.
World Wide Web: a clever way to burn bridges.
Clive Morrow, A Crustacean’s Dictionary.
“I want to be the best criminal I can be.” That’s what Todd told himself every morning. That or something like it. And not every morning, but fairly often.
Adrian Caliban, The Magnificent Egglestons.
Doubt is an old philosophical joke. And the word “reasonable” is promotional language.
Cedric Plumm, All Roads Lead.
Loss.
Godfrey Tooke, Collected Aphorisms.
And where does “thinking” take us? To a casual leftism and to Zen.
Addison West, The Ontology of Destruction.
“Sir, I do not often use the expression shan’t, but I can assure you that I shan’t desist from using it in this case.”
Edward Valerian, The Empire Is Maintained.
“That one there, see? What does that cloud look like?”
“A weasel, Emily. It looks just like a weasel.”
Nicholas Bruhns, Otto the Magpie.
Logic cannot assess your assumptions. It merely reports their consequences.
Addison West, The Ontology of Destruction.
If you are a modern artist, then you are enmeshed in a set of concerns about what painting is or what it should be. And these “concerns” have developed over time: the concerns of Piet Mondrian might seem somewhat silly to an artist of 2010. On the other hand, traditional artists—Duccio, Memling, Hals—created images for viewers.
Orson Tatterhouse, The Anatomy Lesson of Dr. Nicolaes Tulp.
