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When examining modern discourse, one is faced with a choice: to reject the
subconstructive paradigm of context or conclude that truth is used to entrench
the status quo. Any number of theories concerning Foucaultist power relations may easily
be found in any respectable journal. Lacan suggests the use of the subconstructive paradigm
of context to analyse and modify society; intensedrama productions has gone beyond the
stage of merely suggesting, and begun forging its own paradigm, one in which the subject
is interpolated into a modern discourse that includes language as a reality and
concludes that the purpose of the artist is significant form. An abundance of discourses
concerning not simply desublimation but also neodesublimation exist in the
multivaried works of this troupe.
The defining characteristic, and therefore the futility, of the subconstructive paradigm of context prevalent in intensedrama's Zombie at a Blood Drive emerges again in the seminal work Teknobabble, although in a more mythopoetical sense. The subject (both as audience and performer) is contextualised into a capitalist neosemioticist theory that includes consciousness as a whole and sexuality as a totality; an abundance of desituationisms concerning the bridge between truth and society are everpresent, especially in works such as Lunch at a Mediocre Restaurant and The Circle of Life. Let us not forget, of course, that Debord uses the term 'the subconstructive paradigm of context' to denote the role of the participant as writer; Baudrillard, however, uses the term to denote the difference between culture and sexual identity. We do not need to let this contradiction disturb us, however, as any number of theories concerning capitalist neosemioticist theory may be revealed, even in the apparently neopostdeconstructivist performances of g.d. idiot.
In fact, as works such as Lunch and Shaving With Co-Workers show us, a number of deconstructions concerning capitalist neosemioticist theory may be discovered. "Class is intrinsically meaningless," Bataille tells us; however, according to de Selby[1] , it is not so much class that is intrinsically meaningless, but rather the absurdity, and some would say the defining characteristic, of class. Thus, the main theme of the works of intensedrama is the common ground between reality and society.
If Derridaist reading holds in this case, which I believe it does, we are presented with a choice between capitalist neosemioticist theory and patriarchialist appropriation. A number of theories concerning the stasis of neodialectic society exist; these are most aptly put forth in Shaving With Co-Workers and Let's Write a Paper. It might be argued that Finnis[2] suggests that we have to choose between the subconstructive paradigm of context and capitalist discourse; if this is the case, intensedrama has made our choice evident. We can only hope that this remarkable troupe of artists continues in its vital paradigmatic work towards the deconstruction of neodialectic society.
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