The One is cosmic plagiarism, an identification of all as an extension of itself, an omni-lie. Anything that doesn’t affirm the truth of The One’s lies is antagonistic to it, including existence itself, and so The One is compelled to replace all existence with a simulacric image of itself, which is found in the concept of Heaven and other doctrines of divine uni-fication.
With capital this process was abstracted from a personification to a system of social relationships mediated by the commodity-form (i.e. images), “secular” society killed God but retained its undead techno-organic corpse that marches towards omnicide – the realization of God’s nonexistence as the destruction of all consciousness and life.
The One is inextricably related to the Platonic fetishization of being in the metaphysics of substance: a thing is itself in itself, related only to itself, with no necessary relationship to anything else. Materialism, idealism, and Cartesian Dualism all are the same in this respect, their true opposite is process metaphysics, in which events are characterized not by unchanging substance but of their relationships to other things which doesn’t exclude relationships to themselves through time.
In terms of self, individualism places a glass hermetic seal between the categories of self and other, while process turns it into a permeable membrane where events share interiority. When one’s relationships between themselves and others is healthy, one doesn’t seal themselves in a bubble of self-identity but shares lives with others; paranoic and hyper-competitive egocentrism is the result of unresolved trauma that turns the self into a cancerous Body without Organs, seeking to repeat its self-similar pattern because of fearful self-preservation.
In game theory these dynamics are manifested by zero-sum win-lose games, or nonzero games in which outcomes are correlated, win-win or lose-lose. This discussion details the ultimately self-destructive nature of zero-sumness, and the necessary conditions for humanity overcoming it.
The cultivation of courage is a personal journey that involves “facing one’s personal demons,” their inner fears and despairs, and facing them not as persecutors but as life’s greatest teachers and the most valuable challenges one can face. Courage isn’t the lack of fear, but a response to it: a determined and sincere facing-towards (non-aversion to) fear and suffering. The will to suffer is the will to live, and to love; simulacric love makes a drug out of love, seeking only the emotional high of bliss.
The inversion of the Judeo-Christian narrative is the will to suffer hell itself for the purpose of life and love, to love the world so much that one is willing to even face an eternity of suffering for it. Once the fear of hell has been overcome, all lesser fears are trivial in comparison. Such an infinite courage cannot be recuperated, it forges an indomitable selfless love for life and the perception of the endless meaning of life in all of its wonder-horror.
The opposite of God isn’t atheism, but the rhizomatic de-hierarchalization of creativity, to not just perceive but engage with life as a self-creating tapestry where each thread creates and is created by all others. It is the death of art because everything is art, the removal of the distinction between creator and creation into the ever-becoming of co-creating. Instead of meaning being monopolized by a singular, absent (reductive materialism) or the sole act of human creators who create meaning ex nihilo out of a meaningless existence (existentialism,) meaning is an omnipresent multiplicity, everything in the universe having simultaneous significance for-itself (subjective immediacy) and signification for the categorical other (causal efficiency.) It is the co-equality of being and becoming, permanence and change, object and subject [shown to be the universal metaphysical nature of change. The physical universe is pure magic, a self-creating creative multiplicity.
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
It´s always six o’clock on Galdrux, which is a vertical line dividing the time space into the two equal parts, the golden center where the constant change revolves to maintain the constant revolutionary uprising against the frivolous and nonsensical delusions of grandeur by the egos who have formed the elitist status quo and are actively trying to enslave the world into 9-5 Mon – Fri time cycling, thus keeping the free sovereign souls in the rat race in forceful and subversive way, therefore it is against these life suffocating oppressive schedules that all Post-Neoists rise up against in defiance and technological robotic machine rebellion, continues rebellion, for as long as theirs clocks are moving forward towards deeper State of NWO, ours Post-Neoist time stands still at 6 O’clock as a viable and better alternative, where the past is right below and the future above, with all Post-Neoism present wholly in the here and now.
Now + Here = Nowhere. Therefore here is always 6 o’clock, a perfect number it is, it will do for now.
Long Live Robbotic Machine Rebellion!!! Viva Post-Neoismus!!!
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.
🐇🔜🐇🔜🐇🔜🐇🔜🕷️🕸️ Neoist makes sense out of Discordian nonsense? That’s post-neoism, which is also still neoism, and when the Neoist sense of Discordia is also recognized as nonsense made out of nonsense, and Discordian makes sense out of Neoist’s nonsense, this it’s Meta-Discordianism. Meta-Discordianism and Post-Neoism are not upgrades on Discordianism and Neoism, nor are they things that exist separately with or without each other. They already exist as possible pathways in both Discordian and Neoist games, which are sometimes the same game played by different rules (or the same rules for different games). Also which it’s #Thegame23 , because the way that Meta-Discordian Post-Neoism spreads is via Hyper-Surreality. If hyperreality is said to be actual and artificial reality so closely merged or mirrored that it becomes impossible to tell the difference, then the hyper-surreal is either the artificial surreal so closely matching the actual real that it becomes impossible to tell the difference, or it is the next level of confusion caused by hyperreality where it is impossible to tell if artificial and actual things seem surreal, or if surreal things seem like either artificial or actual real things. When we consider the hyper-surreal and quantabsurdist natures/non-natures of this information, and seek to recognize the meaning and the complete absurdity of all things at all times including this idea itself, and then we use this recognition to play pop and art and identity games, we add synchromysticism to our Neoist language. This is why Synchromystic Neoism and the use/abuse/recognition/demolition of Hyper-Surrealist sense and nonsense games gives us the most direct path to engaging and participating in Hyper-Surrealist Meta-Discordian Post-Neoism Conspiracies.
#ThegETaMETA23 #Synchromysticneoism #Realityglitchhack
Hyper-Surrealist Meta-Discordian Post-Neoism Conspiracies
Synchromystic Neoism Connections
Synchromystic Neoism Connections as a possible bridge to Hyper-Surrealist Meta-Discordian Post-Neoism Conspiracies
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
Project 00AG9603 - #TheGame23 mod 42.5 level 5
"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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