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Insights on the Rabbit Hole
Soundtrack of The Mad Tea Party
Wyrd Daze Five : The Ephemeral Man – All source material originally released in 1980
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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
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.
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