Angel was a centerfold? Really? Well I’ll be damned. I mean, I always thought she was cute and everything, but…a centerfold?
April 22, 2004
2.4.2 Unlimited Semiosis
“Since every sign creates an interpretant which in turn is the representamen of a second sign, semiosis results in a ‘series of successive interpretants’ ad infinitum (Peirce). There is no ‘first’ nor ‘last’ sign in this process of unlimited semiosis. Nor does the idea of infinite semiosis imply a vicious circle. It refers instead to the very modern idea that ‘thinking always proceeds in the form of a dialogue —
Please Come to Denver with the snowfall…
…We’ll move up into the mountains so far that we can’t be found… C’mon Corvids. You know you want to. Look: already promises are being made! And that’s from a guy. I imagine Jeralyn Merritt will get all drunk and start flinging subpoenas on stage. What? It’s certainly not unheard of.
This is your life! (for Andrea Harris)
Q: “Though our name was inspired by the drug, Dexedrine, we had a notoriously puritanical attitude to both alcohol and drugs. Fitting our image at the time of our debut album, 1980’s ‘Searching For The Young Soul Rebels’, [our look was comprised of the kind of] New York docker wear inspired by the Martin Scorcese movie Mean Streets.” Who are we?
Introduction to Narratology
metadiegetic narrative. A narrative embedded within another narrative and, more particularly, within the primary narrative; a hypodiegetic narrative. The situations and events recounted by Des Grieux in Manon Lescaut are metadiegetic in relation to those recounted by M. de Renoncourt (which are diegetic or intradiegetic). When a metadiegetic narrative functions as a diegetic one (when its metadiegetic status is forgotten, as it were), it is said to be a pseudo-diegetic
Picture Theory
“Perhaps the most obvious thing called into question by this meta-picture is the structure of ‘inside and outside,’ first- and second-order representation, on which the whole concept of ‘meta-‘ is based. And image of nested, concentric spaces and levels is required to stabilize a metapicture, or any second-order discourse, to separate it cleanly from the first-order object-language it describes. Thus, most metapictures depict a picture-within-a-picture that is simply one among
