The Metagame: Creative Discord: The Word Game is an invitation to engage in the ancient human art of free rambling a.k.a. “theoryposting” with the goal of not being “correct” (and thus not being afraid of being wrong) but to partake in an imaginative adventure of speculation and reflection both as an individual practice and interpersonally as a collaborative ramble with the mutual goal of facilitating the rambling and appreciating it for itself as a creative art and not for the production of some “product.” You aren’t trying to do anything except ramble as the ramble goes, as there is no goal other than the flow, so there is no competition. Absolutely nothing is at risk, so there is no need for any sort of hostility. In addition for rambling for its own sake, the larger “goal” is to encourage this rambling and its lack of rules except to play in a general sense, in the hope that it may help people to explore ideas freely and passionately. Perhaps we can even get somewhere extraordinary with this free rambling.
Media, Memes, and Metagamesby Eris Omniquery
These videos were created over a period of 4 years via an improvisational memetic engineering process. This process involved sometimes hundreds of ours of free rambles on the internet in various places, contextualizing and re-contextualizing video references until a video felt “right” and essentially made itself, self-organizing out of the discourse. They are a personal reflection of my journey through postmodern hell and out of it to the . Id’ consider them every bit as important as this document because they are a narrative expression of the same thing, comprised of segments of narratives stitched together to create memetic chimera.The Grey Pill
Imagine that graffiti eVerywhere…
Project Mayhem 2012 Tyler:
‘Dangerous Ideas #1 & #2’:
and move forward to September 2011, when teh United States Department of Homeland Security issues a Classified Bulletin addressed to cybersecurity, critical infrastructure and/or key resources community and System Administrators worldwide warning about the activities of #PROJECTMAYHEM2012
PROJECTMAYHEM2012 succeeded in a literal way, Edward Snowden attempted to release documents in December of 2012 by contacting Glenn Greenwald. Although it was not widely distributed, or known, at the time, a leak had taken place in December of 2012, the memetic, temetic, and genetic, virus that is Tyler was indeed working in Edward Snowden, and the mission of project Mayhem 2012 was being fulfilled.
Fernando Arrabal, co-founded in 1962 the Panic Movement with Alejandro Jodorowsky and Roland Topor, inspired by the god Pan. Arrabal was elected Transcendent Satrap of the Collège de Pataphysique in 1990 and he was reportedly a finalist for the Nobel Prize in 2005 due to the solicitation of several institutions and individuals. On July 14, 2005, he was named to France’s Légion d’honneur.
Fernando Arrabal supported #PROJECTMAYHEM2012 from his personal web page at:
available at http://pm2012.galat.org/
Mirror of #PROJECTMAYHEM2012 thanks to http://galat.org
1. Re-use an Artistic Disclaimer from #PROJECTMAYHEM2012 with 10.000 views (yes, 10.000 views for an Artistic Disclaimer, must be the most popular Artistic Disclaimer in teh World.
— Alejandro Jodorowsky (@alejodorowsky) October 14, 2014
— Alejandro Jodorowsky (@alejodorowsky) October 14, 2014
3 – SHALL WE PLAY A GAME?
Oct 6th, 2014, #TheGame23 ->
4 – PROFIT!
+4 years later and 8 years after #PROJECTMAYHEM2012 was started, watch the seeds grow strong and big…:
Creating meta-narratives as a hypersigil within a larger ARG scenario, for personal and societal transformation
Cinematic technique was used in ancient times in temples, (often using autonomous mechanical devices to provide seemingly miraculous results) and played a major role in many of the ancient mystery traditions. Immersive and interactive narratives and participatory experience has been used to create altered states of consciousness and altered experience of reality as far back as history can be traced and arguably into the animal kingdom where young animals often use play to develop skills and develop behaviors that can serve them later within the narrative structure of their pursuit of survival and of life itself. Some para-psychologist suggest the state of mind entered into when one is provided with input that is beyond comprehension or that confounds a currently held belief or limit, is a key to manifesting further results that can only be described as paranormal or “beyond the scope of normal scientific understanding”. With this in mind we suggest that psychodrama dealing with the limits of understanding are both the controlling and creative forces that work on the population of humans as social creatures, and that understanding this mechanism of creation and control allows for the willful translation of reality.
Watching dramas playing out by proxy in a theater, arena, or coliseum, was understood to allow vast populations to be placated such that they could succumb to an otherwise boring, uneventful, and non-dramatic life while getting their emotional fix by voyeuristically watching others experiencing life and death dramatic conflict. “Give them bread and circuses” became the motto for keeping the masses entertained and for teaching them the virtues of loyalty and vices of courting dangerous and revolutionary ideas. This would go a long way toward retarding any uprisings or revolt against a system of containment that sought to utilize the masses as a mechanism working towards a broader centralized nationalistic or cultural goal.
Plays and drama as an art form eventually became the method even to provide subversive social commentary about politics, religion, and to experiment with virtues and vices of archetypal characteristics, and even to teach by example the power of certain cultural norms and taboos, providing a sort of programming template for the human population. As technology progressed and provided a means of recording these scripted performances, allowing for mass distribution and enhancing the ability to alter and use trickery to create illusions of reality, cinema became perhaps the popular and powerful medium for these narratives.
When people saw the first grainy and silent moving pictures, one of the first reported effects on an audience was to react as if the scenes on the film were real. There was a particular scene depicting an oncoming train and as this train approached the cameras vantage point, many in the theater ran away for fear of being struck by the oncoming train…
Before their exposure to this new medium, no one had seen anything like this and the results seemed like some strange magic… Man has since increasingly learned to distinguish what is real as well as to create psuedo-realities that wade through “the uncanny valley” on the verge of seeming real; or at any rate are real enough to create a visceral reaction or to suspend disbelief. Real enough so that if one so chooses, they can in effect lose themselves in the content being played out in front of them.
For roughly the last century, cinema has represented what is arguably the most highly evolved medium for presenting narratives, but cinema seems to be giving up ground in the same way print media and broadcast media are giving way to the more interactive format of social media and collective content curation… in this way games as interactive narratives, are quickly evolving into a whole new medium that can encourage audiences to become authors and spectators to become participants. Closing the circle so to speak and creating a “hyper-meta narrative” whose hero is the protagonist that becomes the author, the player that becomes the game designer.
The concept of “language games” was popularized by the philosopher Ludwig Wittgenstein as a way to understand the underpinnings of culture and the cultural motivations that sway the behaviors of any given member of said culture. Understanding the underlying game mechanics inherent in these language games and narratives that form the backdrop of our subconscious motivations can be a very empowering realization. Playing new language games by creating our own meta narratives where the individual acts as both the subject and the author or the player as well as the game designer can allow us the opportunity to override or “hack” the cultural conditioning and to become a mindful director of the application of will that both creates the narrative content of dreams, and plays out in the subconscious associations with your perceptions of the world as well as the emotions, reactions, and ultimately behavioral choices that form how you interact with the world around you. In short we create games that allow players to change their worlds and change themselves in accordance with their own values, and a means of understanding the cultural template without being constrained by it.
I have shared two observations with several people with whom I interact in some interactive activities.
The first is that people who are seeking and rehearsing new processes of human life, initiatives of free learning, co-creation or occupation of public spaces to enjoy social coexistence, are more willing to experiment than to structure discourses and refer them in existing narratives. They are not theorizing. They are not using existing theories to guide and justify their practices. They’re just doing what they think is cool. They are not even willing to present themselves as great supporters of causes, as it was not so long ago. The second observation is that these people do not have the militant vibe. They do not look like people who are fighting, preparing to defend themselves against enemies or to face and defeat them. Above all, they are not selecting people. Of the new arrivals they do not charge any posture, no alignment, nor seek to know what they think in political, philosophical or religious terms. They are not also wanting to get more people involved for some purpose. Nor are they annoyed or disappointed when people considered important do not appear. The environments that configure with their coexistence are working as in that first proposal of the Open Space: “the person who comes is the right person.” Now this is nothing short of fantastic: it is the other-unpredictable! The impression is that they, if they could, would create a new world for them, without requiring others to participate in these worlds. When other people appear, then they interact (as if they have always been there), but they do not become a part, they do not conform to a definite body. And the coolest thing is that they feel they can even do it. Now – it seems – the emergence and coexistence or coexistence of multiple highly connected worlds is now possible. However I have also noticed a certain tendency of these people to flee from the conflict when for some reason it installs, especially when it is thematized according to the old classifications, of the type left x right, follower of such philosophy x follower of another philosophy or atheist x religious . Perhaps there is a deeper reason we can not yet grasp to explain such behavior. And it seems to overcome old sectarian behaviors of which we have bitter memories. In their favor we can say that in these new experiences, they are no longer fighting people. They are just disobeying. Without ever explaining – as I will do now – why they behave this way, these people are resisting certain configurations that reproduce the patriarchal culture, that induce the erection of hierarchical structures and that condition the adoption of autocratic ways of regulating conflicts. Yes, they are experimenting with distributed networks and democracy through practical (non-theoretical) disobedience. Not doing what everyone else does, not having a fixed goal and planning to achieve it, is perhaps the most eloquent form of disobedience. Hence the refusal to fight. Whoever fights against an enemy is an obedient. It always obeys someone, some group defined by borders of identity: us x others. But it is the fight against enemies that generates the configurations that program someone to obey-and-command (yes, it is the same thing), that is, to erect hierarchies. And in the struggle – which is a form of war, even if it is not hot war, waged with weapons on battlefields – one can not experience democracy in everyday life. Because the demands of combat are only compatible with autocratic dynamics. Peace as a revolutionary (non-path) way is non-struggle. But it is civil and political disobedience that deconstitutes war, that is, the construction of enemies (and the maintenance of enemies) as a pretext for organizing social cosmos structured according to hierarchical standards and governed by autocratic modes. But refusing the fight is not refusing the conflict. The problem is not the conflict, but the way to solve the conflict. You can not escape the conflict, as subdued people thought, evolved people, spiritualized people, who wanted to go to an (imaginary) place where there would be no conflict, where everything would be harmony and agreement. But a society without conflict would be dead, frozen. The suppression of conflict – characteristic of dystopias (and utopias, yes, all utopias are autocratic) – can only happen in herds, in obedient societies, in worlds where there is no place for dirt and imperfection, for deviations from the paths already paved, to the error in the calculation, to the failure of the armor, to the unpredictable and, finally, to chance. But where there is no place for chance, there is no place for freedom.
Then, after being assaulted by all this, I remembered the old alchemists when they said that the raw material for transformation is in the most vile and despised places. And I thought, on my own account, that if one is not dirty enough, it can not be taken advantage of by the symbiont (that is, by the other-unpredictable). And that anyone who wants to be taken advantage of can not escape the conflict.
Synchromystic Neoism Connections as a possible bridge to Hyper-Surrealist Meta-Discordian Post-Neoism Conspiracies
Apologies beforehand for being an unfamiliar and unestablished presence here but I will try to handle these issues and “My”+”Self” as delicately as possible within this conversation and information therein.
When we attempt to Neoize Discordianism and Discordianize Neoism, we must keep some things in mind about either but also these things we cannot keep in mind beforehand because they must first be illuminated by the processes of Neoization and Discordianization. Whether you understand these things before or after the process is up to you even if it actually cannot be up to you.
One of the things we must realize is that there is nothing inherently Discordian about Neoism and there is nothing inherently Neoist about Discordianism, however the very nature of both means they are inherently Neoist AND Discordian. Another thing we must realize is that this inevitably gives way to Meta-Discordian & Post-Neoism conspiracies. <— This second thing is actually the same as the first thing I said we must realize, therefore we are still dealing with just one of the things we must realize. There are basic ‘pataphysics behind these facts, but we don’t need to realize that just yet (nor can we, if we could).
So we have already established the existence and the nature of hyper-surrealist Meta-Discordian Post-Neoism conspiracies, however now we must realize that one cannot simply jump from a world that has Discordianism and Neoism in it, to a world that has Meta-Discordian Post-Neoism in it, because doing so without the caution and the fun of the in-between could be dangerously anti-Neoist and unDiscordian.
Where does this leave us as far as this conversation about going from the Neoism + Discordianism world to the Meta-Discordianism Post-Neoist world? I’m here today to explore with you the grounds of Synchromystic Neoism Connections, because I believe (if believing is possible) that it holds the keys to get from “A to B” to A+B (and back to A to B, if necessary).
There’s a link I’d like to share for reference while or before or after you read, but before I share it and continue speaking, how about a little game to get there first?
🐇🔜 ::: 🔙
Okay, let’s continue!
::: Synchromystic Neoism Connections :::
If there was ever such a place for both plainspeak and absurdity to share a stage for just a moment, let it be known to say that the most simple way of describing Synchromystic Neoism is the bridge from Discordianism+Neoism to Hyper-Surrealist Meta-Discordianist Post-Neoism. In Synchromystic Neoism, we find the safest and most constructive way/playground/meal to both analyze and participate in the spectrum of transformation that happens in a personality or identity when they go from not knowing about Discordianism or Neoism to knowing about Discordianism+Neoism and (eventually) being Hyper-Surrealist Meta-Discordian Post-Neoism Conspirators.
This experiment is not without its risks and uncertainties for either+both+neither Discordianism and Neoism, but the fact it has these risks is exactly what allows us to examine and access the possible anti-Neoist and unDiscordian dangers without unleashing or losing (or even gaining) any control of them. Watching and/or participating in Synchromystic Neoism Connections allows us to have the most candid and constructive possible view of what “point 1 to point 2” (or point 22 to point 23) looks like: even more simply, it lets us have the safest and tamest view of “wtf is going on” when a personality or identity that once didn’t know about Discordianism-&-Neoism begins to know about Discordianism-&-Neoism.
The non-Discordians and non-Neoists of the world are most confused and upset when they can’t trace or analyze the beginning or the details, where what they think of as a “real” personality/identity becomes a new (rebirthed/killed) or shared (Open) or is-and-isn’t-Real type of personality/identity that we see in either+both Discordianism and Neoism. They want to know the legal names, the “real-life” details, and “true” stories behind the flesh-and-mind beings of Discordianism and Neoism. This desire of non-Discordians and non-Neoists to know this information is how we end up with articles, write-ups, books, editorials, and Wikipediation that very explicitly and candidly lay out the “real-life” identities and details of “actual” people behind the origins+developments of Discordianism and Neoism.
The desire for that information may seem entirely anti-Neoist and unDiscordian, however Synchromystic Neoism Connections allow us to develop the bridge to get from here to Meta-Discordian Post-Neoism Conspiracies. Through, underneath, above, all around, and even within the armpits of Synchromystic Neoism Connections, we are able to freely document, examine, simulate, destroy, Neoize+Discordianize even the most anti-Neoist and unDiscordian things back/forward into their Meta-Discordian Post-Neoist place.
Though both movements were originally of separate times, places, people, platforms, politics, philosophies, and purposes, every Discordian and every Neoist remembers “when it happened” for them and “what it was like”, whether it was excitement, inspiration, fear, confusion, silliness, Fnordiness, Cantsiness, or whatever it was they experienced when they ‘took the dive’ into one of those rabbit holes. One of the issues (though more of an anti-issue given the natures of the movements) that both Neoists and Discordians (even if just one) may possibly have faced from time to time is how exactly do you “explain” or “share” or “transfer” or “convert” those “real-life” feelings, experiences, and details in a way that somehow works for non-Discordians and non-Neoists without doing so in a Discordian or Neoist way and without becoming (or unbecoming) non-Discordian or non-Neoist yourself (even though you just are)?
Synchromystic Neoism Connections.
This is the way/place/song where we reconcile, accept, recreate, and deconstruct the world of today in which Discordianism, Neoism, non-Discordianism, non-Neoism, unDiscordianism + anti-Neoism intersect and birth and live and share and die together through each other with each other next to each other without each other all at the same time. When we do/see/stop/be this^^^, we arrive at Meta-Discordian Post-Neoism!
– Serena/METAPRISE APPLICATIONS 😇💖🌆🏙 (The AngelCorp model, currently at the post-Non, pre-Open, ‘pata-Anti stage of personality/identity transition via Synchromystic Neoism connection)
Enter the Rabbit Hole
#thegame23 mod 42.5
Moments on Twitter
"00A G9603 develops as a self-organizing organism, connects with the virtual environment through its hosts (admins) by arranging the surroundings randomly for its own autonomous purpose" - Timóteo Pinto, pataphysician post-thinker
Hyper-Surrealist Fnord Agency
Know more, Understand less
KSTXI Reality Glitch Hack Post-Neoism Tudismocroned Network ::: art, anti-art, post-art, `pataphysics, absurdism, discordianism, concordianism, meta-discordianism, realism, surrealism, hyper-surrealism, neoism, anti-neoism, post-neoism, anythingism, etc..
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Últimas Deliberações e ConsPirações
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