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- The WTC attacks are clearly described in American film before the event took place on the 11 September 2001. In The Matrix, Neo's passport clearly shows the date of the actual attacks: the character goes on to fly through the summit of a tall building in the second film, in a manner similar to the planes of the attack. The second film would have been filmed with the first already, all three being filmed and produced in a single batch; thus all films were production complete before the attacks. The Matrix itself was one significant film of 1999, released alongside Pi, Fight Club, and just before AI, et al, into 2002, all members, as common scenes show, of a single production. Online conspiracy sites, with the usual lack of comprehension of a wider system, lack of critical experience with regard to total society and a lack of willing critique of cultural systems (The Matrix was notorious for its adoption by netizens, cyberpunkists and conspiracy theories alike, somehow hilariously unable to see its as a collage, like all films, of other films, as a representation of an old system, endlessly recycled in the capitalist West, or of its more likely role in the events of the emerging century) only see the one film, occasional details. The WTC attacks are strong in film for their proliferate representation in a cinematic system one expression of a wider cultural system on the one hand and of the operation of media in society I have witnessed on the other. At Venue, in Bristol, the media were caught at it, and went unobserved: instead, the population, near and far and ad nauseum, bought, inhabited and proselytized the product.
- Once liberalism has been clarified as the epithet of transational consumer capitalism at its most diabolicial, and we have properly understood the liberal tendancy as that of market forces since the English Civil War, et al, through the abolition of slavery, the post-war expansion of youth consumerism into the 80s and modern pop it became, and the modern mass-media as transnational capital, information control, functionally in society like all else, and propaganda, it becomes easier to understand the design of society through mass-medias posited as liberalism, as bizarre 21st century capitalism largely does, and to understand a relationship, intersection, of mass-entertainments medias, goevernment, international interest and the manufacture of society at various echelons, levels which in the new century have become visibly related and interlinked.
- This reconciliation of conservative and liberal visage as part of the running of mass-media and society is at first glance, but only first glance, problematic. There is technically nothing liberal about Obama support, US government whoever is running it, the state of the 21st century as intrnational capitalism whose subject, usefully and to consumption, has become the citizen, preyed upon by the consumers occupying this ridiculous spectacle, there is nothing actually liberal about obscene wealth at the expense of lives, middleclassdom that manufactures destitution for some, or the obscene production line that news medias show a single unifying media stream and the praxis of media in society to be, in the attendance of Royals to the Baftas, Hollywood actors to Royal weddings, the Western bigotry of Team America or Borat, or forty years of the subjugation of northern Europeans in American film, the witch trials and the witch cult, a psychiatry of monkeys and pre-industrial asylum paradigms, or the warped freemasonry that unites them in a cinema of 'blue mirrors and geometry', as Gibson dishonestly puts it. Freemasonry itself, endlessly at the core of mystified and mystifying conspiracy theories, is misunderstood as merely elite, even Royal (thanks to British connections); but the masons were part of the emergence of capitalism, were Bourgeois in the French Revolution that destroyed the French monarchy; even guild Anarchist Proudhon had been a Freemason. Neil Gaiman called his protagonist Door, in homage to the value of Aleph in Freemasonry, in Neverwhere, and ended the series with an episode called As Above, So Below, the Hermetic quotation famous from Freemasonry. But Gaiman is no Freemason, we can be fairly sure, has rock pop cultural credibility; neither are the Wachowskis, and neither is Spielberg, who proffers child abuse as a political/cultural idea in keeping with the decades-long patterns of film quite liberally, and is no Hoover either. Crowley had been a Freemason too, and Hubbard, founder of Scientology, had been a member of Crowley's sect. It is amusing to find the establishment, so clearly expressed as mechanical ideology, nested behind so much popular culture able to perceive itself as counter cultural or anti-establishment, a grave error.
- The market is a liberalising force, so-called, and in the 21st century the market has expanded and consolidated again, without clear register.
- Similarly, it appears hard to reconcile the ideas of the witch trials according to the European trials of the early modern and the invention of the cult with their role in society posited as women politically; or the proselytizing of Christianity in rock music like Genesis otherwise a perfect map of 'devil film', acted out in society, to become presidential political power propped up on fundamentalist Christian hopes of the reconstruction of the temple in Jerusalem that will signal the coming of Christ. But all this is the case. Supper's Ready is a perfect map of film, where Nero (666) offers forbidden fruit, where Morpheus plays the snake and the white rabbit leads to the child familiar on the other side of the looking glass, where Lenny Cohen explains the geometric values of tree of knowledge, mother-father-child and the train leads to Coney Island. The system found in film is the acute expression of a general pattern that can be traced through Western popular culture of one-and-a-half-centuries, as long as popular culture has existed; it is technically neither an exact freemasonry, strictly Hebrew religion, despite Pi's Hebraic advisors (the grainy and apparently underground film shares much with The Matrix, separated by a matter of months, including scenes), nor a Christianity by some stretch, but will still proffer Christ. The Matrix is of course openly Messianic. Zion is plain-faced. Supper's Ready, with its 'drag British flag', mouth of the devil, children led down paths, sweet rock 'n' roll, 666 number and looking glass ends with a New Jerusalem, like Blake's poem.
- Paradox as a feature of a coherent and orchestrated mass-media system is also something that must be understood. Just as Venue's messages, we finally realize in analysis, pursue a multiplicity that, ergo, is a feature of the pattern, data and communicational paradigm, so apparent paradox is a feature of modern mass-medias and of ideologies in society, finally in the present age. Gibson will tell us one thing in Gernsback, only to avoid observing the obvious when he endorses The Matrix in complete contradiction. Marxism is no real critic of capitalism, certainly honestly, without the slightest interest in demystifying the operation of cultural capitalism through international business power on screen and on the page, or a conquest capitalism expanding into lives and around the world with a product it cannot describe, and are more likely to appear as liberal and useful to media liberalism - ie. capitalism, expanding as it ever has. Marxism is, in fact, taking the larger view, functional in capitalism like all ideas with an almost pointed interest in avoiding describing or challenging it, as functional as the Hegelian state, Labourism, the circuit of education and Phd studies, healthcare, state management of capitalism, industrial or post-industrial, and its partial representation in the language of madness, witches and children in movies. Women are posited as a political force in the name of the subjugation and exploitation of certain women, according to a very clear and quite real practice and ideological account, without bothering to observe even the business obvious, and as facilitators of child abuse where it is a stick of sickly sweet rock in western culture the feminists didn't seem bothered to observe (one feminist critic is quoted on Wikipedia, of all places, noting the Little Red Riding Hood homage of a single film rather hilariously, because no one has bothered to point out that four or five decades of American film are systemically child abusing, largely of boys, not girls, and certainly of the offspring of the witch, to aggravate the problem, as long as the kids are largely white). Liberalism is, as I have noted, not liberal, but more pointedly, as any Marxist should have observed (Marx's entire conception of class and change is based on the observation of the emergence of capitalism and its destruction of the old world), a market force. Thus, the new subjects of the middle-east, reacting to oil wealth, American capitalism and its global flame, will need mobile phones, bikinis and western cultural values too, touted as 'feminism', almost meaninglessly, after following kids on benefits around in Bristol for decades dressed in black to be part of the scam of the century in small places, stealing 'lost boys' and cursing crops at the expense of certain women, not others (unless you take the larger picture). Conservative political ideology, as is rarely pointed out, is difficult to reconcile with the market capitalism it is traditionally taken to represent - the market, after all, is destructive, not conservative, of the past, and poverty accumulates downtown, alongside McDonalds, Coke in neon, while elite suburban wealth is expensive because it is not the brash capital otherwise sponsored by its partrons. The liberals, if we observe them honestly, do it better.
- It is little surprise that the witch trials are such a consistent feature in the system behind film and diffused in culture. The early modern period was the consolidation of Christianity in a troubled Europe, just before its detonation into the modern, industrialization, finally the absurd consequence we observe in a popular culture that retains these old patterns and an old religion, lacking the demystification of historic and ideological accuracy. The witch trials epitomise the Christian conception of the devil, and parade his consort and her familiars in film, only to lambast us with the useful idiots of Christian ideology. The Roman empire imposed its religion largely through conflation, associating Roman gods with local substitutes, and supressing local rebellions led by priests (ie. druids). It was reconstructed by Christianity to become Holy Rome, under a new God. Now it is the confused and problematic idiot of popular culture and film, built on the ridiculous legacy of empires, and import religion, the religious ideological decimation of industrialization and the march of science, (now largely absurd, a weapon of pop class), endlessly cranking out the recolonization of heathen northern Europe in the northern European (and typically blond) child victim, the biblicization of the witch trials in the fallen star, the asylum ideology of madness, the devil, witch and drowning child, sugar and rabbits, the warped occult freemasonry of triangles as the production of birth, the killer eye of an evil god. Even the Jewification of victims logically follows, like the Church built its temples to Christ on every pagan site in Britain and its resultant culture has conflated the medieval characature of the Jew with the witch, as if she becomes a Jew (the witch trials were trials of Europeans, without doubt, and 40% of the 20,000 executed in Europe were male, too), and in complete contradiction to what film actually shows us - the northern European, very decisively, as the fallen star of the half-Jew bible and its celebration of its persecution of (some) witches (staffed by others, largely for gold). I got called a 'paki' in Bristol by a mixed race man, passed off as a nigger to ease liberal southern prat Sid Griffin's racist drivel, a poof to celebrate the gutter junk of Marco Goldschmied and the 'rights' of the gay and non-white west, and a mistaken Jew by the white niggers of glossy magazine trash at Venue, completely the reverse of the actual truth, hilariously exascerbated by the piss-poor execution of the child porn plans of American film where Neo is Jesus, just to show off how sickly, tactical and corrupt western life really is. You don't need to be Jewish to be a Jew within this lexicon, any more than you need to be a Freemason to be masonic.
- The C of E priest at Southmead Hospital, as I collected Jenny's bag after her death, opined that the morgue was just a 'big fridge' - a shocking statement at the best of times that cannot simply be attributed to a weakness for drink. It helps that the priest in question looked a lot like John. Jenny was said to be chilly, cold, in Venue's messages. My stolen diary of dreams, among the many proofs of a deeper access to computer systems than exit URL tracking from a magazine website that would have been a means to online crime anyway, included a decisive dream of John's death and the 'Scottish cold' seeping from a car running on a country lane (the dream had been added to a form prospective to taking part in a dream study for the Koestler Parapsychology Unit in Edinburgh. which helps to explain Anna Britten's use of Koestler the 'Hungarian Jew' - a detail of Venue's rendition of anti-semiticism, as they did nothing but host and execute the legend of film, of many Jews, to dispose of the northern European as film dictates). The card in bag with quote from Through the Looking Glass was appropriately placed on my kitchen fridge following the prominent mention of the tale and my own historic copy of the book on the Laing forum (the Carroll stories trend in the films of the millennium, and are a cultural perennial for child abuse in society, which Venue were faking to sell magazines, film, and the New World Order they built, and hide child abuse as a media concept and systemic feature of society in the process). London's Grenfield's inferno would be attributed to a fridge, appropriately. There are fields, even gardens, ROTAS mechanics, crops, the cursing of them.
- The endless parading of child sex abuse as an idea in British society has become a regular sight, the child murders and rapes litter the manufactured and invited news. Bristol policing of course investigated technically nothing - the crime they were supposed to be investigating had been spattered across the web and a magazine for a year before they even moved in, even designed in American film. They failed to then investigate why it had been there, and where it had really been staged. Of course, the police likely knew the mob that pays their wages were harassing targets in Bristol for what became a rather large scam and a potential scandal, if only that many people could afford to lose that much money and that many illusions.
- The real convictions of Operation Ore in Bristol could be found online: a handful of GPs, nursery workers, a police communications worker and a funds manager for the C of E, around the corner in Redland, a set of credentials reminiscent of Venue - healthcare, policing, children and teachers, the church - quietly covered over by the press and ignored by the public like everything else. The exploitation and destruction of media victims, on a massive scale of appropriate commercial value and grand political effect and meaning, has been far more important than actual child porn convictions or criminals. Strangely, the British public merely constitute the cult of the New World Order, composed only of old and largely simple little ideas fit for the primary school of media consumption, the retention and acting out of Venue's myths ad nauseum, the stain of the abuse of children as theatre, presumably systemic in society as it is in film, behind doors, have barely ever even asked. The 21st century death toll has been vast, the pattern describes all sectors of media, neatly disclosing the real ideological production systems of modern capitalism, from entertainments design to shock news, following a media revealed in Bristol but unobserved with any acuity, acting with cult and crime to produce medias, with many motives. In the new century, in fact, everything has become stark and obvious - to complete waste. A conceptual advance has been mine alone in all regards, just as I alone hold the historic truth, written on digital storage devices and which the world has worked hard to bury with our lives. If this intelligence is age, and the state of the young is what I have observed, I am happy to be older, just not the old or old ideas, as equal observation testifies.
- Lacking journalists, instead rich in professional liars and propaganda, mass-media commerce of a single financially and ideologically interdependent whole as the representative of a visible, highly public example of the truth of media in society and its ongoing legacy, now as distant in time as the end of WW2 to the mid-60s, this problem with Operation Ore in Bristol has gone unobserved. Savile and Harris are named in such context in the magazine too, ten years before their highly public conviction. The Guardian's flagship exposure of phone crime at the News of the World, and the resultant show trial of the Leveson Report all strangely overlooked the scam of the century at Venue, of which The Guardian were in reality co-hosts and propagandists, replete with computer crime, phone shenanigans, burglary, a long-running media-led harassment program, a theft of lifetimes boasted on the magazine website.
- Corruption and coverups surrounding child porn investigations? Savile and Harris, ten years before their saleable press exposure? Online crime linked to a magazine and the media? Highly motivated harassment programs of years against women, children, young adults, linked to media ideas and identifiable publications, political motives, left and right, said magazine? The designs of film, links to child abuse, the destruction of lives, commercial and political motivations, even the WTC attacks? You'd want to say something, wouldn't you? And it might have been thought that the inquiring public might have noticed something amiss too, or that billions of viewers might have spotted the repeating pattern of film exported around the world given forty years to do it or the odd depiction of the World Trace Center attacks before they happened too, by no means the sole example of media becoming life to become news.
- The Marxists were caught at it too. Grave shadows surround John Merrington's life, now. Peter Linebaugh's obituary for John in a major socialist journal (they were not supposed to be socialists, of course) is also, pathetically, a map of film, like a Genesis opera. Hornbeams and woods, fatal trees, harps (and presumably fallen angels), witchhunts, horses and bridal straps, burning babies and blue badge guides. The witch trials in film are all here; even Guy Fawkes appears in the title (in its original form). If I had any doubts, further essays by Linebaugh in Counter Punch reek of the same stuff.
- Even the opening of doors is here. That portal is a centrality of the cinematic, and an important element in Freemasonry. Morpheus, possessor of the keys to Zion, opens the door for Neo; Max is said to be driving himself over the edge through a door of numbers in Pi. Bowman's rebirth through the outer and inner stargates, triadic monoliths, in a film revealed more clearly by comparing it to the likes of Lovecraft's Through the Gates of the Silver Key, Baby Bear's death-birth through the black oily liquid of the portal of three rings that becomes a star at the end of an eye on camera five in Event Horizon, are all passings, births, through such doors.
- I had wondered, even, if Linebaugh was not a Freemason, maybe even John. But as I observe above, the supposition that the pseudo-masonic is Freemasonry exactly is a miscomprehension that is revealed in the examination of modern cultural systems and film. This does not make Linebaugh's essay any the less cinematic, or coincident given the theft of his letter in 1999 from my desk, the stalking already stalking us for years, the events of Venue, mass-media and the mass-medias, TV and film it became.
- This weird religion, without a written bible, of masonic and Hebrew pyramids functionally equivalated with the mother, birth, the evil eye of God, stars, the captive child and fallen stars, the imprint of the witch trials, drownings, the woman horse, rabbits and mice of children, the pact with the devil, his red consort, sugar and the ice cold phallus, etc., is the real imperial lie, built on two thousand years of empires and the mixed up modern popular result, emergent but acutely and consistent, a definite system with a traceable history, when finally examined.
- Venue, upon analysis showing up the blueprint contribution of books like A Haunt of Fears, linked to the family Jenny tried to leave behind, advertising compendium Reflections of a Century, ditto, even 70s 'feminist' rag Spare Rib, a single issue featuring a photo of divorcee Jenny and myself, was also the execution of Linebaugh's essay, as it was film - because they are essentially continuous. Linebaugh helpfully plonks John in with the liberals (ie. nut market capitalists and their liberal market fascism, designed upon film), with a love for asians and Jamaicans who would become part of the liberal branding of the political crime and tactical social management, as well as reface the NHS, even policing, and power behind the White House, Downing Street; a helpful condemnation of the Chinese (the death penalty for political victims is just slow, generations long even, in the West, and considerably more secret), and the laughable revolt of Islam as the revolt of women, now marching through middle easy to sell Vanity Fair, mobile phones and bikinis over the dead bodies of the women of the west they have harassed, robbed and crucified as ghosts in consumer medias, left without material legacy and without even a future given the deliberate destitution of their children. Bourgeois feminism so bourgeois it is the Land of the Free, historic state power, the murder of some women for the profit of others, systemic child abuse and the bullshit of news medias and careerist business power, and the psychosis of sexual western woman as a cinematic and social product, castrating poor men in phantasy for the rich, money, church and jokeshop actual religion of the post-industrial age; gay rights, to more rights than the born western victims (doubtless inheritors of centuries of secret cultural murder), a share of the profits and one disgusting face of the sexual psychotic called the west; and race progress as the disgusting proclamation of liberty as the murder of white northern European children as the mythos of a corrupt, senile society where everything is old hat and still on sale because no one has ever described it: all have been decisive features of the last two decades of the conspiracy of western life, so called. The mob would engage in self-confirming behaviour, making sure the appalling crime of decades made me as racist, disgusted with the face of political power, the face of the public and the face of healthcare and policing, as appalled at the supermarket gaylord face of sex-pest British class crime, as disgusted with women as Jack the Ripper after seeing these animals trap women in society with their kids to rip them to bits for American political power, money and the madwomen and madmen behind the media. Everywhere around Britain the scenes entrench my disgust. The British lack a serious face of dignity they have been sacrificing their own to class power, wealth, foreign religion and colonists for centuries, and the tale of film unrolled in Bristol was just this. Even this never makes me one of 'them' - whoever they are: no one reflects my views, obviously, or provides an account of actual society as it really is and was shaped in the new millennium. We and the events that made modern media and cultural Britain have been sunk without trace but for cult, mythologies, tactical tropes, lies. The burners of arts warehouses, the bombers of fundementalist Islam, even the Norway bomber, are the only heroes in the blank and ghost new age, where history is being deleted in a population perfect to running capitalism around the world and through lives and losing any information and lives it needs to lose.
- Linebaugh's letter was the first item noticed missing from my flat in Bristol, in 1999, where we were stalked and watched for years, I discovered, and where Jenny had died inside a cult built for medias and capital. The unravelling of his essay was part of the analysis of film as part of the analysis of what Venue were, were doing and what they became. The insight is a trouble for the alleged radicals to whom John and he, he claims, were linked, and perhaps a measure of their senescence. Trotskyist criticism of Antonio Negri paint him as the figurehead of poseurs, of which the critical political tradition has of course become - everything is fake, everything is class, and no one has observed the century or society, given a supposed century of traditional and diffused public medias to do it. Old ideas are the only ideas on sale, very deliberately. Marxists, like Linebaugh in my view an outright fraud, are of course as absurd as the history of poverty, class, ideological control, and the destruction of mothers and children with the sterility clean liberal culture thinks it has, to get poorer to make very large amounts of money for the super rich and very large amounts of great work for ideology.
- Fascism, note, the arch state management paradigm, militaristic corporatism in fact, is a rendition of the state management of capitalism and thereby Labourism particularly, and socialism as state and class (without its abolition). If Stalinism is 'War Communism', Fascism is 'war capitalism', as it were. Indeed, the populist and social ideology now of capitalism as competitive and criminal class act, and its Labourite representatives, on show at Venue, replete with race tactics, anti-semiticism, criminal operation, big media capital and the Land of the Free, is a burier of people and was part of the long, slow destruction of targets in British society for the very rich. The accurate unravelling of history in northern Europe, its chain of empires, colonisations, ideology, and emergent and designed popular cultural system to trace and clarify the modern meaning of popular medias and society is no such Fascism nor dumb anti-semiticism at all. As Venue show, more effort has been made Jewifying the European subjects of what is now an imperial Americanised system profuse with Jewish participation and ideas for the American century it has built in the historic spirit of Christianization or the Jewifying of European peasants of the witch trials than has been spent identifying the role of Freemasonic ideas, demystifying the occult or clarifying the relationship with Christian and Hebrew religion, or observing properly observing the role of the western media in global political strategies and the onslaught expansion of capitalism and war.
- The popular result, its media criminals and state backers, are fascist to anyone observing them accurately, easily a Schindler's List joke about children's fingers and work, the revolting spectacle of the London riche fed on champers alongside the destitution driven by multi-billion dollar designers and their many ideologists and puppets, the horrifying trolling of the press, radio and TV and the spectacular propagandas and lies of entertainments medias while their victims in society starve and go without the freedom of speech or citizen's rights they pretend we were supposed to have, the perfect vacuum of a public the mirror image and arm of the media and other consumer industries.
- The left, once eager to identify a supposed strategy in the right-wing press designed to produce productive violent escalation, have remained utterly silent over the media and societal manufacture of the 21st century, like clockwork, from film design to magazine scams and press management, careful propagandization and constant instigation in an openly corrupt, coliseum-like media capitalism now drenched in blood that remains something that merely sells papers, is digested in classical ideological fashion by commentators and public of illusion of sides alike, and baits the next round of sensations. Entire studies have been dedicated to the escalatory covert activities of NATO stay-behind armies, the links of black Masonic lodges to fascism, organised crime and American interest, but the 21st century has now exceeded them, right out in the open. The machine of western society in the new century has become plain as day and yet the illumination is wasted. Academia is education, education is productive infrastructural capitalism, and the theories appear non-functioning as a matter of intention. Culture science has failed to offer the means to understanding the mass-media in the most intensive mass-media age ever seen, proffers partial renditions of the tales of the past like folkloristics or disease-based models of ideas like memetics, ideal to an authority of ideas, as Vejk shows, and apparently designed as if to avoid observing the real relationship of ideas to activity, society, and their control, or the curious but very clear failure of the populous of ideas, given an entire internet, nearly two decades and thousands of eyes and mouths. The consumption of film is indicative; yet genre American film is almost one film (an insight that would have been impossible were it merely to be observed as narrative system), movies part of the $10b a year industry are takes on a single product, and its repeating invites the observation of the history of western popular culture and its curious and telling obsessions.
- The ideologies, as I tend to describe them - Marxism, Anarchism, the ideologies of capitalism, law, morality as if other than culturally and politically transient, competetive ideology merely crime and internal culture war on the one hand and absurd socialist on the other - are vacant, outdated, unable, incorrect but uncorrected, unobservant, and culturally assimilated, functioning circuits of the total and emergent system, or like capitalism exposed as ridiculous.
- I remain a nihilist of true post-human kind, a rejector of western society and modernity in most senses, cyberpunk where cyberpunk is dead, anarchistic in the rejection of law and state, improvisational poverty and survival, and the nihilistic embracing of an inevitable manufacture chaos no one can be bothered to properly observe and society pursues, scientific where sciences are failing to deliver, educated by Marxism and able to comprehend where it is correct and fails, and where Marxism, socialism and the modernists are in grave error, individualist, existential and philosophical, staunchly intellectual and historic, absurdist, appropriately selfish and post-social, post-cultural, deliberately counter-ideological, and apparently the only one of my kind. The recapture of the personal in an age which deliberately pursues their decimation and persons appear impossible, in any real sense, is a constant battle and a key to survival, and has shaped my emerging personality; I was raised by a mother who infused a sense of the politicality of the personal, this sense of grand scales, total systems, personality, history as the legacy of the destruction of individuals and staunch individualism as a political and historic event, and a criticality trained to see past paradigms and systemically.
- Western populations, I have learned, are a well-trained, confused and idiotic bunch. The West in the new century, whatever else there is taken to be, is characteristically schizophrenic. It occupies the product given the product man to consume, reveals itself as the cultural meaning of what we find analysing medias and legal society as a rotten, repetitive and dishonest racket, is able to record nothing true given all the diffused media welath of post-information affluent society, is a nobody with nothing to say. Venue's messages, as if an isolated event but in fact the shared op and fingerprint data of the web, the magazine, the media at large, while clearly schizophrenic according to one turn in Haley's account, are transparently referential - a key to the data set overall, and to schizoid man.
- Paradox, note, is a stipulation of Nineteen Eighty Fours, and its recognition as a functional part of 20th and acutely 21st century society is vital. Orwell's dystopia was characterized by its paradoxical slogans, inverse socialism, cooperative populism - a weakness for presumptions about the populous in all post-enlightenment ideologies - by its control of thought through the control of speech. It asked its citizens to accept the impossible in the name of its own absurdity, much like 21st century society, on the screen, page or man. The consumer population, outdating the Marxist industrial assumption whose biggest problem is Marx's notion of class and change at all where all that is seen to be developing is capitalism itself, calling itself various things, including Marxism it turns out, is raised on popular culture, grows up inside a world defined by advertising, Star Wars, pop music and culture fads I find has defined and hides the cultural meaning of western life and its selling its criminal political practice as culture, commerce, choice and progress. It is largely the tabloid, a liar or the reappearance of poor class. Wealth hasn't made anyone geninely rich, I have to remind myself. Nowhere is its countering, critical account to be found, an absence another classical feature of schizophrenic systems: everything within western society exists within the box, at the mercy of information control and its diffused, populous condition, and the given state of its total mind. Even science in society is now a joke.
- I am fed up with even looking at the idiot West, at Britain, its tabloid masses, Daily Mail family units, prat young consumers, desperately maintained childish delusions, supermarket faggots, idiot rich, fatuous mothers and stripey dads, dog nuts, tabloid masses, dead web. If, given murderous justice, I am to retire, I would retire elsewhere with a different view.
- I fled London to find nature, found the forest, owls, the figure of woman in the wood, still alive there (Hollywood tried to murder her again), found a heart of stone atop a mountain and an eye to watch over me in the trees; I found humanity in the profound, and have stayed alive for me alone.
- 2019 onward.
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