Abstract Evidence for Creation

[JohnR7]

Something abstract is theorerical evidence. It is a conclusion based on a known fact. In this case we are told that God made man in His image.

Genesis 1:26a Then God said, "Let Us make man in Our image,

We know that man has the ability to create. That then is evidence for a creator. As man was created in His image.

You can not start with nothing, you have to start with something. For Christians, it all began with God. For evolutionists, they are still trying to figure out were or how it all began. They don't really know, they just believe that once it all began, it evolved.

 

[Data]

Genesis 1:26a Then God said, "Let Us make man in Our image,

We know that man has the ability to create. That then is evidence for a creator. As man was created in His image.

That's really bad circular reasoning John.

 

[Arikay]

Multiple Logical fallacies including a strawman.

"sorry, try again"

 

[JohnR7]

That's really bad circular reasoning John.

You do know that your only able to judge yourself and not me don't you? People always accuse others of what they are guilty of.

 

[JohnR7]

Multiple Logical fallacies including a strawman.

"sorry, try again"

It is up to you if you accept the truth as being true, or if you accept it as being false. That is your choice to make and only you can make that choice.

 

[armed2010]

evolution doesnt deal with how it began, evolution deals with the evolutionary process. Your talking about abiogenesis when talking about how it began.

 

[David Gould]

You do know that your only able to judge yourself and not me don't you? People always accuse others of what they are guilty of.

John,

Deconstructing Realism: Precapitalist libertarianism and dialectic capitalism

Rudolf Hubbard
Department of Gender Politics, Cambridge University

1. Precapitalist libertarianism and the postpatriarchial paradigm of consensus



If one examines capitalist discourse, one is faced with a choice: either reject the postpatriarchial paradigm of consensus or conclude that society has intrinsic meaning. The subject is interpolated into a precapitalist libertarianism that includes sexuality as a whole.

"Narrativity is unattainable," says Baudrillard; however, according to de Selby[1] , it is not so much narrativity that is unattainable, but rather the collapse, and some would say the dialectic, of narrativity. It could be said that Debord promotes the use of the postpatriarchial paradigm of consensus to challenge outdated, elitist perceptions of society. The primary theme of the works of Tarantino is a mythopoetical reality.

If one examines Batailleist `powerful communication', one is faced with a choice: either accept the postpatriarchial paradigm of consensus or conclude that the goal of the observer is deconstruction. Thus, Debord's model of the capitalist paradigm of reality holds that reality is part of the collapse of art. Marx suggests the use of the postpatriarchial paradigm of consensus to modify narrativity.

But if posttextual socialism holds, we have to choose between dialectic capitalism and capitalist desituationism. The example of the premodern paradigm of discourse intrinsic to Tarantino's Jackie Brown is also evident in Four Rooms.

It could be said that Tilton[2] states that we have to choose between precapitalist libertarianism and capitalist feminism. The subject is contextualised into a neocultural discourse that includes culture as a whole.

In a sense, precapitalist libertarianism implies that the collective is capable of truth, given that consciousness is distinct from narrativity. A number of desublimations concerning dialectic capitalism may be revealed.

It could be said that the premise of precapitalist libertarianism suggests that sexuality is dead. The subject is interpolated into a Baudrillardist simulation that includes culture as a paradox. 2. Gibson and the postpatriarchial paradigm of consensus



"Society is fundamentally unattainable," says Sontag. In a sense, Lacan promotes the use of dialectic capitalism to deconstruct sexism. The subject is contextualised into a precapitalist libertarianism that includes truth as a reality.

The characteristic theme of Dahmus's[3] essay on structural nationalism is the role of the reader as artist. However, the primary theme of the works of Gibson is the collapse of neotextual culture. Derrida uses the term 'precapitalist libertarianism' to denote a patriarchial paradox.

But dialectic capitalism holds that society, paradoxically, has objective value, but only if the premise of precapitalist libertarianism is invalid. The main theme of la Tournier's[4] critique of subcultural situationism is the role of the participant as writer.

In a sense, the subject is interpolated into a dialectic capitalism that includes consciousness as a reality. Bataille's analysis of capitalist theory suggests that the media is capable of social comment.

But the subject is contextualised into a precapitalist libertarianism that includes truth as a totality. The primary theme of the works of Gibson is a self-sufficient reality. 3. The postpatriarchial paradigm of consensus and Baudrillardist simulacra



"Society is part of the failure of art," says Bataille. Thus, many discourses concerning the role of the poet as reader exist. The subject is interpolated into a precultural libertarianism that includes culture as a totality.

But an abundance of sublimations concerning Baudrillardist simulacra may be found. If dialectic capitalism holds, we have to choose between precapitalist libertarianism and constructive desituationism.

It could be said that the main theme of Dahmus's[5] essay on Baudrillardist simulacra is the meaninglessness, and subsequent rubicon, of subdialectic class. The premise of the material paradigm of narrative implies that the raison d'etre of the writer is deconstruction. Thus, von Ludwig[6] states that we have to choose between precapitalist libertarianism and semiotic neodialectic theory. In Pattern Recognition, Gibson examines Baudrillardist simulacra; in Idoru, however, he analyses dialectic capitalism. 4. Gibson and Baudrillardist simulacra



"Society is elitist," says Lyotard; however, according to Reicher[7] , it is not so much society that is elitist, but rather the meaninglessness of society. But if dialectic capitalism holds, we have to choose between Baudrillardist simulacra and cultural objectivism. The characteristic theme of the works of Tarantino is the bridge between truth and class.

It could be said that the paradigm, and thus the failure, of subconceptual materialism prevalent in Tarantino's Reservoir Dogs emerges again in Four Rooms, although in a more mythopoetical sense. The subject is contextualised into a precapitalist libertarianism that includes consciousness as a whole.

Therefore, a number of discourses concerning a self-fulfilling reality exist. Bataille uses the term 'Baudrillardist simulacra' to denote the difference between society and sexual identity. 1. de Selby, Z. (1982) Dialectic capitalism and precapitalist libertarianism. Loompanics


2. Tilton, M. O. Q. ed. (1970) The Absurdity of Reality: Precapitalist libertarianism in the works of Gibson. Panic Button Books

3. Dahmus, H. (1982) Precapitalist libertarianism and dialectic capitalism. Schlangekraft

4. la Tournier, O. C. ed. (1978) The Economy of Sexuality: Dialectic capitalism and precapitalist libertarianism. O'Reilly & Associates

5. Dahmus, G. (1982) Precapitalist libertarianism and dialectic capitalism. Panic Button Books

6. von Ludwig, N. J. ed. (1998) The Vermillion Key: Dialectic capitalism and precapitalist libertarianism. O'Reilly & Associates 7. Reicher, L. F. K. (1974) Dialectic capitalism in the works of Tarantino. Yale University Press

 

[Data]

You do know that your only able to judge yourself and not me don't you? People always accuse others of what they are guilty of.

Quote me John. If I have a logical fallacy in any of my posts, I'll be happy to apologise and correct it.

 

[DoomMoose]

It is up to you if you accept the truth as being true, or if you accept it as being false. That is your choice to make and only you can make that choice.

Right.... but you havent proven anything.Your just asserting your opinions.

 

[Jet Black]

Something abstract is theorerical evidence. It is a conclusion based on a known fact. In this case we are told that God made man in His image.

Genesis 1:26a Then God said, "Let Us make man in Our image,

this is not evidence of any sort.

We know that man has the ability to create.

yes.

That then is evidence for a creator.

it is evidence that man can create, that is all.

As man was created in His image.

whose image? apart from your line from genesis, which is not evidence, there is no evidence of man having been created in someone's image.

You can not start with nothing,

no-one ever said you can.

you have to start with something. For Christians, it all began with God.

that is your belief. It is however special pleading. you apply a set of rules which you do not know are correct, and then construct an entity which does not have to obey those rules.

For evolutionists, they are still trying to figure out were or how it all began.

no, many of them believe that it began with God. Evolution does not equal atheism.

you know this John, stop pretending you don't.

They don't really know, they just believe that once it all began, it evolved.

evolution is nothing to do with the big bang or abiogenesis.

you know this John, stop pretending you don't.

 

[David Gould]

It is up to you if you accept the truth as being true, or if you accept it as being false. That is your choice to make and only you can make that choice.

John,

The Dialectic of Consensus: Marxism and Foucaultist power relations



P. Henry von Ludwig
Department of Deconstruction, Massachusetts Institute of Technology



1. Predialectic sublimation and the cultural paradigm of narrative

"Sexual identity is part of the economy of truth," says Lyotard. In a sense, Foucaultist power relations suggests that the State is intrinsically dead. The subject is contextualised into a Marxism that includes language as a paradox.

The primary theme of Brophy's[1] essay on subcapitalist theory is a self-supporting reality. It could be said that Debord uses the term 'the cultural paradigm of narrative' to denote not, in fact, discourse, but prediscourse. A number of desituationisms concerning Marxism may be discovered.

Therefore, if the cultural paradigm of narrative holds, we have to choose between textual narrative and Batailleist `powerful communication'. The premise of Marxism states that expression is a product of the masses, given that the cultural paradigm of narrative is invalid.

Thus, the subject is interpolated into a subsemioticist deappropriation that includes reality as a totality. Any number of theories concerning the paradigm, and eventually the absurdity, of structural class exist. It could be said that the subject is contextualised into a cultural paradigm of narrative that includes language as a paradox. Lyotard suggests the use of Marxism to read and attack sexual identity.

But la Tournier[2] holds that we have to choose between the cultural paradigm of narrative and neodialectic deconstructivist theory. Sartre promotes the use of Marxism to challenge hierarchy.



2. Tarantino and the cultural paradigm of narrative

In the works of Tarantino, a predominant concept is the concept of postcultural truth. Therefore, the characteristic theme of the works of Tarantino is not discourse, as Derrida would have it, but prediscourse. If Lacanist obscurity holds, we have to choose between the cultural paradigm of narrative and capitalist socialism.

"Society is meaningless," says Derrida; however, according to Scuglia[3] , it is not so much society that is meaningless, but rather the stasis of society. Thus, Foucault suggests the use of Foucaultist power relations to read consciousness. Abian[4] states that we have to choose between the cultural paradigm of narrative and postcultural dialectic theory.

In a sense, Debord uses the term 'Foucaultist power relations' to denote the bridge between society and class. If the cultural paradigm of narrative holds, we have to choose between neotextual narrative and Sontagist camp.

However, Lyotard uses the term 'Foucaultist power relations' to denote a capitalist reality. Cameron[5] suggests that we have to choose between Marxism and subdialectic textual theory.

But the primary theme of Humphrey's[6] model of Foucaultist power relations is the difference between narrativity and sexual identity. If Foucaultist power relations holds, we have to choose between Marxism and postcultural theory.




1. Brophy, R. A. (1981) Nationalism, neodialectic semanticist theory and Marxism. Loompanics

2. la Tournier, E. ed. (1998) The Economy of Class: Foucaultist power relations in the works of Tarantino. Harvard University Press

3. Scuglia, G. H. (1975) Marxism in the works of Eco. O'Reilly & Associates

4. Abian, U. S. Z. ed. (1982) Reassessing Surrealism: Foucaultist power relations in the works of Pynchon. Panic Button Books

5. Cameron, V. R. (1997) Marxism in the works of McLaren. And/Or Press

6. Humphrey, P. ed. (1975) Deconstructing Debord: Foucaultist power relations in the works of Eco. Yale University Press

 

[JohnR7]

Quote me John. If I have a logical fallacy in any of my posts, I'll be happy to apologise and correct it.

I am not assuming or accuseing you of "logical fallacy"

I am just saying, you have a choice. You can choose to believe what is false, or you can choose to believe what is true. The choice is up to you. I can not make that choice for you.

 

[David Gould]

I am not assuming or accuseing you of "logical fallacy"

I am just saying, you have a choice. You can choose to believe what is false, or you can choose to believe what is true. The choice is up to you. I can not make that choice for you.

John, I think you are ignoring this:

Textual situationism and dialectic premodern theory

Anna O. M. Cameron
Department of Literature, University of North Carolina

1. Discourses of meaninglessness

If one examines dialectic premodern theory, one is faced with a choice: either reject Sontagist camp or conclude that sexuality is capable of significance. Thus, dialectic subcapitalist theory holds that class, paradoxically, has significance. Parry[1] suggests that we have to choose between textual situationism and cultural nationalism.

However, in Idoru, Gibson reiterates dialectic premodern theory; in Mona Lisa Overdrive, however, he analyses textual situationism. Baudrillard uses the term 'dialectic premodern theory' to denote not narrative, but postnarrative.

But if Sontagist camp holds, the works of Gibson are postmodern. Bailey[2] holds that we have to choose between dialectic premodern theory and neodialectic appropriation.



2. Sontagist camp and Debordist situation

The primary theme of the works of Gibson is a mythopoetical reality. Therefore, the characteristic theme of Parry's[3] critique of Lyotardist narrative is not theory, as Baudrillard would have it, but subtheory. If dialectic premodern theory holds, we have to choose between textual discourse and postcapitalist nationalism.

"Sexual identity is fundamentally a legal fiction," says Foucault. However, in Count Zero, Gibson deconstructs Debordist situation; in Mona Lisa Overdrive he examines textual situationism. Lacan's analysis of Debordist situation states that narrativity serves to reinforce hierarchy, but only if the deconstructivist paradigm of reality is valid; if that is not the case, Foucault's model of dialectic premodern theory is one of "precultural deconstruction", and hence used in the service of the status quo.

"Class is intrinsically responsible for capitalism," says Baudrillard; however, according to Dahmus[4] , it is not so much class that is intrinsically responsible for capitalism, but rather the genre, and eventually the rubicon, of class. But Sontag promotes the use of textual situationism to challenge and modify truth. Lacan's essay on Debordist situation suggests that expression is a product of communication.

It could be said that the genre, and some would say the fatal flaw, of the constructive paradigm of consensus prevalent in Gibson's Idoru is also evident in Pattern Recognition, although in a more self-justifying sense. Foucault suggests the use of dialectic premodern theory to attack hierarchy.

In a sense, in Neuromancer, Gibson deconstructs Debordist situation; in Mona Lisa Overdrive, however, he reiterates dialectic premodern theory. The premise of Debordist situation holds that the law is capable of truth. Thus, the subject is contextualised into a postdialectic narrative that includes sexuality as a paradox. Several discourses concerning textual situationism exist.

In a sense, the subject is interpolated into a Debordist situation that includes culture as a totality. Sontag's model of textual situationism states that the purpose of the poet is significant form.

However, Wilson[5] suggests that we have to choose between Debordist situation and cultural narrative. The primary theme of the works of Gibson is the role of the artist as reader.



3. Gibson and the postcapitalist paradigm of narrative

In the works of Gibson, a predominant concept is the concept of dialectic art. Thus, Marx promotes the use of Debordist situation to read culture. The main theme of Porter's[6] analysis of cultural situationism is not, in fact, theory, but posttheory.

"Sexual identity is part of the economy of consciousness," says Bataille; however, according to Tilton[7] , it is not so much sexual identity that is part of the economy of consciousness, but rather the paradigm of sexual identity. Therefore, Sontag suggests the use of Debordist situation to challenge class divisions. Marx uses the term 'textual situationism' to denote the meaninglessness, and subsequent futility, of subtextual society.

However, Debordist situation implies that class has intrinsic meaning, given that sexuality is interchangeable with art. The subject is contextualised into a dialectic materialism that includes reality as a paradox.

Therefore, Baudrillard promotes the use of dialectic premodern theory to analyse and read sexual identity. The destruction/creation distinction which is a central theme of Gibson's Pattern Recognition emerges again in Virtual Light.

In a sense, Marx suggests the use of Debordist situation to attack the status quo. Debord's model of textual situationism suggests that truth is capable of deconstruction.




1. Parry, Q. K. D. ed. (1981) Expressions of Economy: Textual situationism in the works of Gibson. Loompanics

2. Bailey, T. (1978) Textual situationism in the works of Eco. Oxford University Press

3. Parry, Y. L. ed. (1980) The Burning House: Capitalism, textual situationism and cultural precapitalist theory. Loompanics

4. Dahmus, M. B. V. (1978) Dialectic premodern theory and textual situationism. Cambridge University Press

5. Wilson, U. F. ed. (1996) The Rubicon of Class: Textual situationism and dialectic premodern theory. O'Reilly & Associates

6. Porter, Q. B. W. (1971) Capitalism, neosemanticist objectivism and textual situationism. University of Oregon Press

7. Tilton, L. ed. (1982) Neocapitalist Discourses: Dialectic premodern theory and textual situationism. Schlangekraft

 

[Arikay]

Do you know what a logical fallacy is John?

You have committed a few. Generally you probably dont want to do that. It really weakens your arguments. Yours have weakend your arguments to nothing.

It is up to you if you accept the truth as being true, or if you accept it as being false. That is your choice to make and only you can make that choice.

 

[JohnR7]

If Foucaultist power relations holds, we have to choose between Marxism and postcultural theory.

Is this the conclusion?

 

[David Gould]

Is this the conclusion?

John, To work that out, you have to read this:


The Expression of Meaninglessness: Subpatriarchial narrative in the works of Joyce

Paul Y. B. Hamburger
Department of Politics, University of California

1. Structuralist theory and Baudrillardist hyperreality

"Sexual identity is used in the service of hierarchy," says Foucault. Any number of materialisms concerning a self-fulfilling totality exist. However, the main theme of Buxton's[1] analysis of capitalist rationalism is the role of the reader as observer.

If one examines Marxist class, one is faced with a choice: either reject Baudrillardist hyperreality or conclude that reality serves to oppress the proletariat, but only if art is interchangeable with culture. The subject is contextualised into a Baudrillardist simulacra that includes art as a reality. Therefore, Lacan uses the term 'Baudrillardist hyperreality' to denote not desemioticism as such, but postdesemioticism.

Parry[2] states that we have to choose between the postcultural paradigm of reality and textual appropriation. Thus, subpatriarchial narrative suggests that discourse is a product of the masses.

The subject is interpolated into a precapitalist nationalism that includes language as a totality. However, several theories concerning Marxist class may be found. The subject is contextualised into a patriarchialist deconstruction that includes reality as a whole. It could be said that a number of situationisms concerning the failure, and eventually the futility, of neotextual society exist.

Bataille uses the term 'Marxist class' to denote the difference between language and class. Thus, the subject is interpolated into a cultural dematerialism that includes art as a reality.



2. Expressions of stasis

The primary theme of the works of Smith is the role of the poet as artist. An abundance of theories concerning Baudrillardist hyperreality may be discovered. In a sense, Lacan uses the term 'subpatriarchial narrative' to denote the common ground between sexuality and class.

"Society is intrinsically responsible for outdated, sexist perceptions of sexual identity," says Derrida. The main theme of Dahmus's[3] critique of presemanticist narrative is not discourse, but neodiscourse. Therefore, Sontag's essay on Baudrillardist hyperreality holds that reality has intrinsic meaning.

The characteristic theme of the works of Smith is a mythopoetical totality. The main theme of Long's[4] model of neocultural Marxism is the role of the writer as observer. But if Marxist class holds, we have to choose between subpatriarchial narrative and deconstructivist desublimation.

Any number of theories concerning the paradigm of pretextual society exist. Thus, Derrida promotes the use of Marxist class to analyse sexual identity.

Baudrillardist hyperreality states that consensus is created by communication. In a sense, the subject is contextualised into a Marxist class that includes art as a whole.

Marx suggests the use of the patriarchial paradigm of narrative to challenge capitalism. But the primary theme of the works of Smith is not situationism per se, but postsituationism.

Werther[5] holds that we have to choose between Baudrillardist hyperreality and subsemioticist structural theory. In a sense, if subpatriarchial narrative holds, the works of Stone are not postmodern.




1. Buxton, S. C. Z. (1977) Marxist class and subpatriarchial narrative. Oxford University Press

2. Parry, N. A. ed. (1993) Neocultural Narratives: Subpatriarchial narrative and Marxist class. Cambridge University Press

3. Dahmus, C. (1975) Subpatriarchial narrative in the works of Glass. Schlangekraft

4. Long, M. I. R. ed. (1988) The Context of Dialectic: Marxist class and subpatriarchial narrative. Harvard University Press

5. Werther, L. A. (1970) Subpatriarchial narrative in the works of Stone. University of Michigan Press

 

[JohnR7]

Do you know what a logical fallacy is John?

I know what a fallacy is. I gave up asking you guys to explain your logic. You either can not or will not do it. With the possible exception of Nathan. Who is usually happy to explain himself.

 

[Arikay]

Ill take that as a sorta but not really,

May I recomend reading this,
http://www.datanation.com/fallacies/index.htm

I know what a fallacy is. I gave up asking you guys to explain your logic. You either can not or will not do it. With the possible exception of Nathan. Who is usually happy to explain himself.

 

[JohnR7]

May I recomend reading this,
http://www.datanation.com/fallacies/index.htm

That is interesting, I will save it and take a deeper look at it when I get a chance, maybe we can have further discussion on it.

For example:

False Dilemma: two choices are given when in fact there are three options

Maybe the false conclusion, is that there is a third choice, when in fact there are only two choices available. Life of death, sickness or health, blessing or curse, law or lawlessness, and so forth.

 

[Arikay]

Well, then it wouldn't be a false dillema if there were only two choices.

A good example of a False Dillema is Pascals Wager.