Arquivo | operation:mindfuck RSS for this section

Oh Holy Grail! areia = beta gamma

Anúncios

#TheGame23: a post-#ProjectMayhem2012 ARG or how to unfuck teh World.

https://nosce.files.wordpress.com/2019/01/thegame23-SHALL-WE-PLAY-A-GAME-THEGAME23.jpg

.

Imagine that graffiti eVerywhere…

IMAGIne… ACT.

.

0. Jump on the Time Machine back to December 2010, register http://projectmayhem2012.com, initiate an Alternate Reality Game?

Project Mayhem 2012 Tyler:

https://pastebin.com/Wt15GXTn

.

‘Dangerous Ideas #1 & #2’:

https://pastebin.com/sLLwJbtz

+100.000 views

.

.

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.

MINDFUCK!

.

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:

https://laregledujeu.org/arrabal/2011/09/05/2643/%E1%BC%80%CE%BD%CE%AC%CE%B3%CE%BA%CE%B7-desperados-rats-degout-autre-arrabalesque-project-mayhem-2012/

collage de Jordi Soler

MINDFUCK!

.

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.

2. Injekt a mental Virus into Alejandro Jodorowsky‘s brain circumvolutions (creator of the Panic Art Movement) so that he posts this to his 2 MILLION followers:

.

MINDFUCK!

.

3 – SHALL WE PLAY A GAME?

Oct 6th, 2014, #TheGame23 ->

https://pastebin.com/YbmG6ETq

30.000 views

.

4 – PROFIT!

+4 years later and 8 years after #PROJECTMAYHEM2012 was started, watch the seeds grow strong and big…:

.

https://i.imgur.com/1EvJDEi.jpg

.

MINDFUCK!

.

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.

:::

Alternate Reality Game Organization (ARGO)

:::

Synchromystic Neoism Connections as a possible bridge to Hyper-Surrealist Meta-Discordian Post-Neoism Conspiracies

by Serena Coburn

 

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?

#Thegame23 #FollowTheWhiteRabbit 🐇

🐇

🐇

🐇🐇🐇🐇🔜🐇
🐇


🐇
🐇🔜 ::: 🔙

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)

#thegame23 – Countercultural ´Pataphysics

“Media culture enthusiasts like “Bill Me Tuesday,” a hacker from Santa Cruz, want computer users to think of viruses more positively. Using a healing medical model, Tuesday explains: “Viruses can act like a logic analyzer. As the virus goes through the operating system, it stops at certain checkpoints, doing its rounds in a given amount of time. This checkpoint will report back what the condition is.… Essentially the virus will serve as a means of creating a self-repairing system.… The goal is a self-repairing, crash resistant system, similar to the way our bodies repair themselves. Biologically we are the product of thousands of microorganisms cooperating together. We can apply that kind of thinking in the computer world. We are modifying the concept of a virus to serve us.”

These are the same goals and methods the media viralists have. Presenting culture as a giant, interconnected organism, they hope to foster a spirit of cooperation. Using viruses to seek out the cracks or inconsistencies in existing systems, they develop a culture that repairs itself much in the way a colony of bacteria mutate to avoid extinction or an ecosystem adjusts itself to achieve homeostasis. This concept has gone far beyond the metaphorical level.

A new kind of computer virus has been appearing on the networks that does not have anything to do with programming language or crashing systems. These viruses are meant to serve as memetic devices or meme-carriers, which express themselves in the way they mutate passing from system to system, node to node. They work like the kids’ game “telephone,” where a message is passed around and the joy is in discovering how the message changed from person to person. When the message is a virus, though, its contents are hoped to evoke a response.

A college student on the Internet, Andy Hawks, created a meme collection he called “Futureculture.” In its first incarnation, Futureculture was a large list of books, tapes, programs, Internet sites, magazines, and other media references that Hawks felt would be useful to people who were interested in developing a new viral culture based on some of the principles of cyberspace. He posted it as a file in several Internet locations so that others could reference it, make additions, and pass it further. So much interest developed in Futureculture that it grew into an open E-mail forum. Hundreds of Internet users sent mail to one another through an automatic mailing system at Hawks’s Internet site. Each user received a daily compilation of all the Futureculture list additions and periodic updates of the whole, mutated file, which had expanded to several hundred pages of text. Eventually Futureculture, which began as a virus, released viruses of its own.

(…) The virus served as publicity for a new meme-zine, Virus 23, which features interviews with and articles by science fiction, psychedelic, physics, GenX, mathematics, and computer experts. The zine is designed to promote viral initiatives. Following the philosophies of William Burroughs and cult hero Genesis P-Orridge, the editors see language and culture as a series of competing viruses and believe that an uncensored forum for sometimes shocking countercultural ideas will strengthen the ability of new memes to evolve humanity. They use the number 23, made famous by occultist Aleister Crowley in the early 1900s and, more currently, P-Orridge because ancient pagan faiths associate it with change and the Apocalypse. Self-conscious and overtly viral manifestos take us into an altogether new cultural territory, where the memes of ancient shamanism are spliced together with those of futuristic cyber-technologies. This is the frontier of virus construction, and though it occurs on a highly conceptual plane it often has very palpable results.”

via Futureculture, from Media Virus: Hidden Agendas In Popular Culture

:::

Virus 23 Index

#thegame23 guides:

https://pastebin.com/P45pZ4Gu

https://pastebin.com/YbmG6ETq

:::

#thegame23 propaganda

Pinterest

Moments on Twitter

#thegame23 #adacic1033 #kstxi fnord #hashtags:

#kstxi #00AG9603 #postneoism #operationmindfix #QuantumSchizophrenia #FollowtheWhiteRabbit #fnordmegathread

:::

#thegame23 conspirators and conspiracies

Project 00AG9603 — #thegame23 level 5

Project 89

Hyperstition — by Delphi Carstens

Creating meta-narratives as a hypersigil within a larger ARG scenario, for personal and societal transformation

Synchromystic Neoism Connections

KSTXI Discordian Memes Illuminati Cabal

Hyper-Surrealist Meta-Discordian Post-Neoism Conspiracies

Discord Chatroom

Facebook Group

Facebook Page

:::