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By Joan Broadhurst, Jean Tinguely

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Sample text

To avoid the problem of building cultural obsolescence into theory it is necessary, first, to eschew the making of predictions concerning the form and content of cultural trends, and second, to come to the cultural field armed with a wider theory that allows the thinker to make sense of the rapid cultural shifts without having to fix them according to type. This amounts to refusing to give any priority to the cultural environment when trying to understand the postmodern condition. Deleuze and Guattari and Debord give weight to the mapping of conflicts instead of the monitoring of cultural changes.

336-337. 7 Thomas Pynchon, Vineland, London: Minerva, 1991, p. 97. 574. (All translations from this work are mine) 2 64 20 65 ANDREW GOFFEY The Cruelty of the (neo-) Baroque For Valere Noverina the world is a problem to be treated with caution. Like any good story it is worth repeating, but being a fiction, a battleground to treat suspiciously. "l. Appropriately enough, the Discours is itself a fiction, or rather a series of eleven fables bearing witness to a journey across the interior surfaces of Noverina's being.

Clearlythe notion of sincompossiblity' may help. Paraphrasing Deleuze somewhatthis can be explained asfolbws. Leibnitz has advocated 72 CRUELTY OF THE (NEO-)BAROQUE God, but the contrary of this proposition, Leibnitz non-advocate, is not impossible or contradictory in itself (as would be 2 and 2 are not 4). This is the property of propositions of existence. To explain why Leibnitz non-advocate is not contradictory in itself, another relation is needed, but not between the two Leibnitzs, rather between Leibnitz non-advocate and the world where Leibnitz 'has advocated'.

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