THE AGE OF WARRIORS.
V. AESTHETICS. THE 3 AGES OF ART AND CULTURES
The evolution of weapons causes an ±800 years cycle of death of civilizations
extinguished rhythmically by new ‘weapon radiations’, when the discovery and
reproduction of those new weapons carried by warrior hordes, starts an age of
war that extends throughout all the Eurasian continent, as hordes of warriors
expand their lethal energy, killing people and erasing human cultures. In the graph, the 7 cycles of wars and the
weapons that caused them: bronze swords, chariots, iron swords, coins and
mercenary armies, spur cavalry, gunpowder and digital weapons. Each of those
evolutions of weapons caused the extinction of civilizations in worldwide ages
of War.
18. The 800 years cycle of war.
The discovery and massive reproduction of new weapons, carried by hordes
of symbiotic warriors that spread throughout all the Eurasian continent, causes
an ±800 years cycle of extinction of civilizations, as those hordes of
warriors conquer, kill and erase all human cultures. The result is the end of
the ‘mature age of History’, the Neolithic and the beginning of its 3rd
age, the Age of Metals, that imposed the Anti-Ethics of white, Semite and
Indo-European, animetal cultures worldwide.
Weapons are discovered and then radiate in great numbers during a short
period of ±100 years of World Wars that destroy the old civilizations, starting
a new 800 years cycle of ‘modern civilizations’ in which the warrior hordes
that control the world with that icon weapon of each cycle become the higher
castes of new human cultures. Then after another ±800 years, a new weapon
appears in the hands of a new horde of warriors and the previous warrior castes
are displaced after another World War age in which the new warrior horde
exterminates the old warrior caste, as new top predators extinguish old ones in
the biological radiations of the Earth . So the arrival of new weapons shows the fractal
zones of History. The median life of those 800 year cycles, around ten
times the maximum biological life of a Human being (70-80 years), strongly
suggest 2 i, i+1 causes for those war cycles: the biological rhythms of human
life that after 10 generations seem to enter in decadence, and the climatic
cycles of the Earth, whose periodic ages of hot weather on the steppes create a
surplus of nomads, displaced towards the valley cultures. Those massive changes
at global scale on the S-T parameters of the planet, similar to the changes
of hot to cold weather that caused the reproduction and extinction of living
beings3,4), are cyclical
action-reactions that man could perfectly manage, if it had the will to control
his own future and ensure his survival. But under the anti-Ethic ideologies of
warriors who ‘enjoy murder’ and bankers who believe in the ‘Free Market’, that
is in letting thing happens according to some esoteric Good God’s will, nothing
is done about it. So we accept sheepishly the tragic fate of the war and
Holocaust cycle associated to it, (as warriors with new weapons kill go(l)d
cultures to loot its wealth as the
temporal regularity of warrior radiations that extinguish civilizations show. Indeed, the repetition of the
cycles of birth and extinction by warfare of civilizations in similar dates
across the entire old world with a ±800 years periodicity proves, both the
lethal nature of weapons, the biological nature of history and the outcome of
believing in the anti-ethics of animetal ideologies instead of fostering social
love.
The 7x 800 cycles of
global war and cultural extinctions were parallel in time in 5 of the 6
historic regions (
19. The 3
ages of Art: the existential wave of historic super-organisms.
As we drew 3±1 ages for biological organisms,
we trace 2 curves of existence for humans and their social organisms, which die
when germs or weapons kill them. The cycle of existence of metal-civilizations
lasts ±800 years, accelerating the extinction rhythm of Paleolithic and
Neolithic societies, since industrial weapons evolve faster.
We have already considered the 3
ages of human individuals , so we
will consider now the 3 ages of cultures, which are made of a collective
network of human brains that act as the neurons of a civilization that extends
through a geographical body. Since if we consider the 3±1 ages of those civilizations,
made of human quanta and a collective subconscious artistic and religious
brain, both, i-humans and their i+1 informative networks, go through the same 3
ages proper of any organism.
That cycle of life and death of civilizations can be studied not only
through the ‘historic deeds’ of animetals, its battles and kings, its massacres
and conquests, but also from the human, ethic and aesthetic perspective that we
have chosen in this book, specifically through the mental attitudes of
societies, whose ‘collective subconscious’ go through 3 ethic and artistic
ages, between the birth and death of their ‘super-organisms’ of history, which
are parallel to the ages of an individual human being: a youth of epic,
energetic art and literature, a classic, mature age and a baroque age of angst,
that creates a formal, prophetic art when the culture foresees its end due to
the sickness of war.
Those 3 ages repeat in all the cycles of life and death of
civilizations, since Paleolithic hunters showed their angst in the paintings of
caves, when warrior bowmen came to hunt them.
In the Age of Metal, the process
of extinction accelerates. If the Middle Paleolithic lasted ± 800.000 years
since the Homo Floresiensis discovery technology, the Lower Paleolithic ±
80.000 years since the male Y-chromosome expanded throwing weapons (fig.12,
and the Neolithic ±8.000
years, aborted before it reached its maturity by the arrival of Bronze weapons,
explained in Genesis, a book of parables wrote in Mesopotamia, at the time
Bronze warriors conquer and extinguished the Sumerian civilization, now,
civilizations will live and die, when through war another civilization conquers
and colonizes the previous civilization only 800 years. And latter on, when
Industrial warfare accelerates further the ‘rhythm of creation of technological
information’, the rhythm will diminish further to a mere 72 years, the mean age
of a human generation, now parallel to the ages of discovery of new ‘machine
energies’ swiftly converted into weapons and bombs that cause World Wars. This
old hypothesis (nt is
now confirmed with the discovery of the Homo Floresiensis and the Y-chromosome
marker (fig.1,
proving that history has entered a cyclical, informative vortex of death Thus, as it happens in the galaxy with a star
falling towards a black hole or in any informative process of decay and death,
the accelerated war cycles, against which only prophets and artists rebel
rhythmically with its ‘bio-ethic and aesthetic angst’, is extinguishing human
civilizations that go through
the same 3±1 cycles of birth, reproduction, excess of (technological)
information and death (by war) of any organism. And we observe that organic
cycle of life and death, both in the historic body of the civilizations made of
human cells that become destroyed by the sickness of war, and in their
collective mind, their art, the genetic ‘memes’ of those civilizations, created
through verbal words and visual images, which act as the subconscious
collective ‘mind-brain’ and memorial record of those historic civilizations.
Since art and verbal thought, the positive, creative, mental arrow of a culture, also goes, as the individual human mind does,
through the same process of youth, maturity, informative decadence and death, caused by the
sickness of war, of any organism. So we can observe
those ‘mental attitudes’ in the 3 fundamental styles of spatial art and
temporal, verbal literature, parallel to those 3 ages, which express in this
manner the emotions and vital desires of the artists and ‘verbal prophets’,
neurons of those civilizations. Then it comes the death of the civilization, which is
called ‘war’ that happens with a cyclical, decametric periodicity respect to
the life of the individual when the ‘germs’ of history, weapons, multiply and
extinguish the civilization. Thus, in the next paragraphs we will summarize
the process of death of civilizations by war to all societies and study how the
collective mind of those societies, their art, shows always the same pattern of
baroque angst when death comes, as an old man does at individual, human level.
20. The 3 ages of a
civilization. A paradigm: the Roman, warrior, Western culture.
E-pic:‘Vae
Victis’ Brenno IV BC. E=T Classic:‘Live the day’
Horatius I BC
3rd
Age: Baroque. ‘When a corrupted culture defies all reform, we shall wait its
extinction’ Seneca I AD
In the graph, the paradigm of warrior cultures, the
The 3 ages of
Those 3 ages of existence of the Roman civilization show in their
informative, collective subconscious, the spatial, visual art and verbal, temporal
literature of the Roman Culture,
shown in the graph, between its birth and extinction. In art those ages of
visual and literary perception are called ‘cultural styles’ that mimic sequentially between the birth and
extinction of the civilization the energetic youth, the classic, mature age,
and the informative baroque of the 3rd organic age:
- Max. E: Dramatic youth. The youth
of any civilization gives birth to a dramatic, epic art, simple in forms, full
of energy, as youth is, when a new tribe of warriors founds a new empire. For
example, in the Roman civilization of the iron cycle, if we consider its
fundamental art, sculpture, it is the age of war symbols, lineal statues like
the wolverine and Doric columns (fig.13.
- E=T: Classic realism. When
warriors settle down and civilize it comes a classic age of realist, sensorial
art that harmonizes in-form-ation and energy. In
- Max. T: Baroque, prophetic, decadent styles as the culture comes
closer to its death. The same happens to men that show in their old age a
cynical, pessimist mind, full of spiritual ‘negative wrinkles’ opposed to the
energy and happiness of youth. So in
- -1: Finally, the civilization
enters a new age of war that extinguishes the culture due to the reproduction
of new weapons of mass destruction. Then Fascism (the military vision of
reality) reigns supreme. True art is repressed and weapons and war become the
main subject of artistic display. It is the age of the lower empire in
permanent war with German armies, when it is coined the old Roman motto: ‘You
will defend me with the sword and I will defend you with the word’ (fig.13. Finally the civilization disappears, as new
barbarians ‘ad portas’ destroy the culture.
Once, the generic case is understood
we will consider now all human civilizations, from the Paleolithic to the
present American Baroque, through the 3 ages of their art.
21. The 3 ages of the
Paleolithic and its art.
The 3+1 ages of Paleolithic art
portray the 3+1 ages of the earlier collective human mind:
- Youth, Upper Paleolithic; First
Homos: lineal art, flints and stones.
- Maturity: Middle Paleolithic: Homo
Erectus and Neanderthal: pebbles and cyclical forms.
- 3rd age: Middle-Lower
Paleolithic, Homo Sapiens Neanderthal: Complex stones.
+1: The arrival of verbal symbolic
forms with the Homo Sapiens Sapiens creates the first visual energetic images
that ‘reduce’ 3-dimensional space into bidimensional information
In the Paleolithic, the very youth
of mankind, man is pure energy and so his art is mainly lineal in form, even in
the 3rd age when painting appears, full of movement and energy.
Max. E: In the Upper Paleolithic men can’t talk or
represent symbolic images in bidimensional space, due to their reduced –1000
c.c. brains. So art is simple, lineal technology created through the
manipulation of stones. On the first photograph, we see some of those stones
from an archaeological site in
Max. T: However as men evolve, stones are crafted with
precise forms that have specialized functions. There are not only weapons, but
also stones to prepare skins, to cut, even decorative gems. It is the classic
age of the stone craft, the age of Homo Erectus.
E=T: Finally, with the arrival of the Homo
Neanderthal, we find all kind of complex, stone forms.
Earlier Paleolithic art, before the
arrival of symbolic, verbal thought, is stable because it followed the e-t = et
ternary arrow that creates a ‘reproductive, stable space’13-15), evolving
from lineal, to cyclical to organic, stable forms. It doesn’t follow the 3
e->et->t ages of time that end up in an extinctive excess of
technological information, as it will happen with all the animetal
civilizations of history. History could be immortal if technological
information wouldn’t evolve so fast as it does.
+1: Homo Sapiens however will bring
languages and symbolic imagination, still in perfect harmony with Nature as the
top predator species of an animal world. Now culture dissociates between
visual, spatial art and verbal, temporal literature.
22. The language of images.
‘Artists act as the neurons that carry the
collective consciousness of Social Organisms.’
We say: ‘I see more with my eyes; I think better with my words, therefore I am
an artist.’
Knowledge is the
accumulation of information about reality with the human mind that perceives
space and time with 2 languages of perception: sight and sounds, from where the
2 languages of social culture derive, images and words. Culture is to a
civilization what the mind is to a human being: its informative network. Thus
the collective human mind, the literary words that explain the life in time of
a culture and its individuals, and its visual, spatial perception through
artistic images, is the essence of a culture. Once this is clear it is easy to
understand why ethic words, religious and literary texts, and spatial art are
essential in the process of existence of human cultures. Since in a healthy organism
of history, verbal masters (religious prophets, writers, legislators), and
visual artists, are in charge of creating the collective information that
regulates societies and creates a world to the image and resemblance of man.
For that reason throughout history art has been sacred and artists and verbal
masters have had the highest status. Since, as it happens in our organism with
informative neurons, information cells are always the most important cells of
any healthy system.
We have already
studied the verbal culture of that age: animist cults to the living World of
Gaia, which still exist today among modern Paleolithic tribes. They are the dominant element of the
Paleolithic culture that explain its visual images, the cave paintings, which
worship the ‘living spirit’ of those animals, ‘translated’ and ‘fixed’ from
4-dimensional space-time into bidimensional information, a memetic memory that
the hunter thought would bring the real animal species, as today bidimensional
information brings back to life industrial machines in industrial factories…
Man in this age is at the beginning
of its mental development. He is like a child, ‘impressionistic’, full of
force, as those paintings show. Not surprisingly this earlier age is similar to
our neo-Paleolithic, or third age of history, when again visual images
overpower verbal thought. The difference of course, is that the mental machines
of the Metal-Earth, impose our visual 3rd age upon us after an age of mature,
verbal thought; and so it is a devolution not an evolution as the first
bidimensional paintings were. Further on no longer man, but computers and
televisions, ‘metal minds’, make those images. They are the first species of
a new visual, hunting, killing species, the Chip Homoctonos, the Robotic weapon
which thinks with ‘images’ and so it will kill as the Paleolithic man did with
animal life, the ‘previous species’, the human being.
The intelligence of images is common
to all animal species, since the age of the squid. Its Universal grammar is
simple: images have 2 dimensions, one dominant on information called precisely
‘form’, and one dominant on energy called ‘colour’. Each one can be subdivided
again into S-T fields: lineal images are energetic and cyclical images are
informative. While blue colors are informative and red is the most energetic of
those colors So hunters used red colors and lineal traces in those paintings (fig.13. Are
the colors and forms of the first robotic minds also lineal, energetic,
destructive? Yes. They are. Today scientists make race contests with their
robots. Yet American Universities have imposed a restriction to the marks that
trace the circuits: red colors, the colour of blood, are not permitted for
eye-recognition purposes. Since computers tendencially perceive=like more that
colour, the colour of energy, of murder.
Red is the colour of blood, your energy network, of meat, the food that
gives you better nutrients. Your eye or the robotic eye or the bull's eye in
bullfighting moves towards red, yellow, clear, bright colors, which are the
natural colors of the sun, the mother of your eye-energy. So visual species,
who follow the intelligence of the light, tend to be ‘violent hunters’, that
search for blood. The first men were Paleolithic hunters; the first robots and
the last men are Neo-Paleolithic warriors. Today under the influence of digital
images we have returned to that first, impressionist, violent age. Now digital,
television images, which are the first deconstructed parts of the future
mind of robots, are the equivalent to the
23. The 3 ages of Neolithic art.
In the Neolithic, art ‘fixes’ the
space-time of wor(l)ds into writing, after 3 ages:
- Max. E: A young age of energetic
crafts, with obsidian and copper flints and axes.
-E=T: A reproductive age of
fertility goddesses and figurative images of Gaia.
–Max.T: A 3rd age of
ceramics with complex symbols that ended up creating writing.
In the graph, we can see works of
the 3 ages of Art in the Neolithic:
- Energetic Youth. The age of
Archers. The first
age, still owes to the stone crafts of the Paleolithic, its forms, though now
it uses different materials, copper, clay, bones to construct weapons that
extinguish the Paleolithic culture. Thus the first age of epic, Neolithic
warriors coincides with the last age of Paleolithic baroque artists, as the old
grandfather coincides with the young child, in an overlapping trend that
repeats once and again in History. The extinction of the Cave man is a fast process that
leaves their final swan song in painted caves in the extreme of the Eurasian
steppe, in
- E=T: But once, Neolithic warriors settle down, art
evolves into a second figurative, realistic age, dominated by agriculture.
We find in the same Spanish Levante, groups of women dancing, recollecting
food, the first self-portrait of History, the ‘Brujo’, a painter with brushes
on his hand…
- Max. T: Those signs will evolve into a formal baroque,
in which symbols dominate the description of reality and bring finally the age
of writing thought. It is a symbolic language, since man through words
is now able to speak and understand with words all universal organisms, not
only with images. Thus if the Neolithic builds the mature, creative energetic
networks of agriculture, in the linguistic informative scale the Neolithic is
the age of verbal thought, as the Paleolithic is the age of images, and the 3rd
age of history, the Age of Metal is the age of digital languages. What writing
implies is clear: the language of human social organization the words now
transcends beyond the individual time of a human being, elongating its span
both in time and space, as it can reach further, transported in words, and it
can lasts longer, stored in clay. So words reach its full potential, precisely
when at a conceptual level the religions of the living Universe mature in
Taoism and the cults to fertility of the Western agricultural world. Yet that
harmonic paradise of agricultural networks of energy, informative religions and
verbal art ended with the arrival of weapons. It will be the age of extinction
of Neolithic art, the Neolithic baroque, the first of the cyclical ages that
dissociate the lineal arrow of ‘future evolution of weapons’ from the baroque
cycles of destruction of human cultures, which produced the oldest text of
mankind, the parable of Genesis.
VI. GENESIS. BIRTH OF PROPHETIC
THOUGHT. THE TREE OF SCIENCE.
The birth of western prophets is signaled by
its first, masterwork, Genesis, where the perception of the organism of History
and its fight against the anti-ethics of the ‘Tree of Metal’ is purest. The
text is a parable written on the arrival of animetals and the oldest verbal
book of mankind, probably written at the beginning of the ‘chariot war cycle’
in
24. Birth of the Wor(l)d: Genesis.
Genesis
is a warning to mankind against the Tree of Technology with its golden apples
and ‘bad fruits’: ‘Do not eat of the Tree of Technology because the day you do
you will die’. The book narrates how human Neolithic super organisms became
broken by those animetals, who used the Tree of Technology to destroy Nature,
the
The
myth of the paradise, the age without metal; the golden apples of the Tree of
Technology, which corrupted human beings with its ‘good and evil’ fruits,
technological tools and weapons, is the most clear prophecy about mankind and
its future extinction by the ecosystem of machines: ‘Since those who eat of the
Tree of Science will indeed die’ at the end of History. It is the curse of man carried from Adam and Cain,
the first Smiths of History to Adam Smith, the creator of the Capitalist belief
that eviL is the source of all goods1-2), expressed in a simple, convincing parable. The myths of Genesis have to
be reinterpreted as a warning to our present and future. Since we live again in
the cities of Gomorra and
That
first masterpiece explains it all in simple parables. We are minds of light,
born in the world of light, ‘separated from the world of dark matter’, evolved
in this planet, as the summit of carbon-life species, after all the inferior
forms of life were created. When men followed the organic mandate of the Non-AE
Universe, grow and multiply, evolve socially and reproduce, becoming the top
predator of Nature. Yet we had not enough, we wanted to be superior to Gaia, to
be like God, to ‘create’. So we played with metal, with technology, with the
Tree of Science, we became animetals, we destroyed Gaia, and now the Judgment
Day for our ‘sins’ against life will come. But as long as life exists there is
hope. So new prophets came to explain the same message with different wor(l)ds,
and they indeed succeeded in the creation of a super-organism based in love,
which went through 3±1 ages, 3±1 prophetic evolutions of the social mind of
mankind, the 3±1 religions of the book. Since Go(l)d and weapons are the
ultimate cause of both, the cycle of war that kills warrior cultures and the
Holocaust cycle that kill banker cultures, as all the wor(l)d prophets and
spatial artists that tried to build a human super-organism have always said. Let us then consider first the cycles of war
and the warnings against the corruption of societies, uttered by visual
artists.
VII. THE 800 CYCLE OF
ART AND WAR.
I Age: Epic, Arrogant
II Age: Sensorial, Logic III
Age: Baroque, extinctive
Mykerinos, 2548 BC Tomb, V dynasty ±2100 BC
Horus, God of the Dead
I Mykerinos,
It was a good land. Figs were in it, ‘Yesterday is gone.
Son of Ra-Amon and
grapes. It had more wine than water.
There is not today.’
Lord of the World... Sinuhe
±2000 Bc
Book of the Dead ±1600 Bc
25. The 7 cycles. The bronze
radiation: ±3000 BC ó±2000 BC.
Those ages of massive global wars started when
Bronze, the first hard metal used in the construction of weapons, was
discovered. Bronze weapons brought the first empires around –3000
BC. Bronze was probably discovered in
South Egypt that unified with
We can
distinguish between the birth and extinction of
- Max.
E: The epic age of Empire building when the I dynasty of military warriors
coming from the south unifies the country. Art is simple, lineal. Arrogant
warriors obsessed by death build pyramidal tombs of growing size, and hieratic
self-portraits of Pharaohs, seen as God by the power of the sword (In the
graph, the Mikerinos Group).
- E=T:
Yet after Egyptian pharaohs settle down to a pleasant life, wealth spreads to
other social castes. It is the brief period of classic, realist art, epitomized
by the V Dynasty with its smaller tombs decorated with beautiful, realist
paintings of human goods and classic literary pieces like Sinuhe, which
narrates the transition between the classic age and the decadent period:
- Max.
T: At the end of the Bronze Age, a period of disorder, corruption and new wars
starts again, when foreign invaders with new chariot weapons take over the
delta. Wealth plummets and the country enters a baroque age of war, ‘moving
back to the past’. The cult to death and resurrection dominates the culture:
the Books of the Death; the myth of Osiris brought to life by her wife Isis
into a better, imaginary world; and the portraits of Horus, God of the Dead,
become the most popular religions, substituting the epic cult to Ra, the father
of all pharaohs. Those 3 ages and religious icons will become the recurrent
ages of the Egyptian civilization every 800 years.
26. The chariot Radiation: ±2000 BC ó±1200 BC.
Jews pass Red sea and conquer Israel, Solomon’s temple:wealth, Jewish King kisses Assyrian captor
I Age: Simple, epic, arrogant Classic Age: sensorial, realist III Age: baroque, extinctive
‘God chose the Treasure People’ Exodus. ‘Feed me with kisses’ Solomon. ‘Vanity, all is vanity’ Eclesiastes
After
the age of bronze swords comes the age of Indo-European and Semitic hordes with
war chariots (from ±2000 BC until ±1500 BC). Military power moves from
An
industrial system of chariots’ production creates in
27. The Iron Radiation: ±1200 BC ó±500 BC.
The Greek culture went through 3 ages: First
Dorian warriors created simple columns and statues (2; then civilized
Ionians made balanced sentences and spiral capitals. Finally the Hellenistic
period brought the Corinthian capital and cynic satyrs. Rome will imitate those
ages in its art , creating a parallel, daughter cultures, paradigm of Western
warrior empires.
Noble
a woman that can’t fight I know nothing and take them to bed
cause I have tasted the blood Thales,Classic Realism.
and glory of the sword
Euripides Trojans. 3rd
age Satyr V BC
Homer, Epic, Young Poetry.
IX BC
Around 1400 BC Germanic, Celtic hordes start mass
production of iron swords. In
28. Coin radiation.
±600 BC; ±410 AD.
The oldest warrior cultural tradition of the West is
Rome I horizon, which has been imitated by many cyclical European
civilizations. It gave origin to European ideologies, rituals and icons of
warrior and banker civilizations from Britain to Nazi Germany, from Imperial
eagles to civil architecture. Rome is fundamental to understand the Western
World, since it is the origin of all myths and alibis for further Warrior empires,
that could seize power, pretending to reinstall a new Rome. Rome is parallel to
Assur, the master of war of the Verbal, Bronze age. Because gold-iron races
die, but its products and its rituals continue, there is in fact a continuity
of rituals from Assur to Persia, to Macedonian empires, to Roman, to European
empires. So much for racial superiority: the race dies in wars and Holocausts.
The product stays. The
Roman cycle is accurate; I believe irrefutable. As the cycle of Rome II
Horizon that lasted 798 years
Around ±560 BC a new weapon is
found according to the S-T duality between lineal, moving, energetic and
cyclical, informative forms. Thus if humans first discovered lineal bronze
swords and then cyclical chariot wheels, now the duality repeats. So we move
from lineal iron swords to cyclical money, which substitutes words as the new
language of social power. Money is able to organize huge mercenary armies and
further professionalizes war. Now huge empires (Persian, Macedonian,
29. The Middle Ages. The Stirrup and iron-horse
Radiations: 410 AD, 1208 AD.
In the West, the Huns, Nomad warriors able to shoot with
arrow bows while galloping, thanks to the stirrup discovered in
In the East, between 317 AD and 589 AD they break
Then Semite and Chinese Warriors learn to build stirrups and
counterattack with a higher quantic social mass, pushing backwards Germanic and
Mongolian tribes. They create the biggest organized empires based on cavalry,
(Arab and T’ang empires). Meanwhile Germanic hordes dissolve back into multiple
tribal nations, origin of modern European states (Middle Age Europe.) Their
civilization is built around the ‘horse man’ that sees himself ‘higher’ than
the rest of humanity because he mounts a horse. If there is a Fractal law that
man never fails to obey is the Galilean Paradox. Any excuse is good enough to
make us the center of the World, the Only Chosen of God, the most intelligent
species; when we are nothing more than dust of space-time. In that epic age
barbarians plummet the level of wealth achieved by Christianity. Then they
become converted to social love. So
Those final days of social religions left the great cathedrals -
optimistic buildings full of light, looking upwards to God, built by the
collective effort of a people which, unlike in Romanesque churches, no longer
fear the violence of barbarians. Those gothic cathedrals and Mosques seem to
confirm a wealthy way of life in the lower Middle Ages, with fewer wars and
abundance of human goods. Population doubles in
The fundamental civilization
of this age is Islam, which extends over the entire Semitic region,
establishing a division in the West between the 3 main Subjective Gods of
History: the Indo-Europeans will become Christians, the Semites will become
Muslims and in-between them the mixed Semite/European Jewish culture, will
create a trading network origin of the modern economic ecosystem , latter
studied in more detail. In the next graph, we use an architectural example from
Islam and Christianity, Mosques and Cathedrals to show that parallelism between
both human cultures, whose art go through the same 3 styles and 3 ages:
- Max. E: In the beginning of the Middle Ages,
Cathedrals and Mosques are flat, simple, similar to fortresses, acting as
refuge against invading hordes.
- In the Lower Middle Ages, they grow in
height and light towards their informative God, reaching a classic, harmonic
beauty, as the Western world enters a long period of peace.
- Yet as gunpowder brings again the 4 riders
of Apocalypse, temples become baroque, ornamental, loosing the purity of its
‘high’ mystique feeling.
Kairuan, VII AD Corduba
Mosque XI C Alhambra, XV C
I Age: Epic, Dramatic II Age:
Sensorial, Logic III Age: Baroque,
Extinctive
Romanic Cathedral Classic gothic:
Roy Diaz entered
with sixty pennons
strong. Whom loved better than his life; purgatory for the sake of holy
‘God, what a noble
vassal, She was come to eighteen
years of age. Love and need of the
souls
if he had a worthy lord Jealous he was and held her close in
cage. That are there, if he redeems
Mio Cid, XI C,
For she was wild and young, and he was old, an infinite number of souls
Epic literature Deemed
himself as like to be cuckold. For the sake of miserable money?
Realist Literature On the corruption of the
Church
30. An architectonic example of
quantic, organic space-time. A home
Organic architecture, defined by Wright,
relates the form and function of the 3 zones of a non-AE space-time. In the
picture his home and its 3 Non-AE zones: the intermediate space, the
informative, moving singularity, Wright himself, and the external membrane.
Not only artistic forms go through the 3
horizons of any Non-AE point in time, but according to duality they can also be
described in space as Non-AE points with 3 organic regions. So an architectural
building is a 4-dimensional space-time field where man becomes the informative
singularity surrounded by an energetic building membrane that limits an
intermediate space-time. Let us then
make a short halt in our imperial path to observe the delights of artistic
creation…
Architecture
is the main human art of space-time creation. It surpasses painting
and sculpture because it has a temporal dynamic element, the human beings that
occupy the building. And it surpasses film, an art of bidimensional
information, because it has also energy dimensions. Hence it occupies a wider
spatial range using all forms and materials that allows architecture to include
pieces of all those other arts within its form. And
even so, it continues to be a human art, concerned with the creation of a quantic
space-time where human beings, ‘the central, informative singularities’ of any
architectural space-time, absorb energy and information as any singularity
does.
So
we define any architectural building as a non-AE space-time with 3 ‘organic’
regions:
- Max. E: An external, hard membrane that sustains the
building and separates the architectonic discontinuous space-time from the
outer world. And an internal structure of support, which should be made, as
Wright affirms, of the same material than the walls, forming together an
organic unit. Finally, that membrane
should isolate and protect the building, having enough apertures, windows and
doors, to allow the free flow of energy and information between the inner and
outer world.
- E=T: It isolates and shapes an intermediate,
organic space, where men develop their activities, in which both, energy quanta
(utilities) and informative elements (furniture, informative objects) have to
be in formal balance with the spatial structure and be functional to be used by…
- Max. T: The human informative ‘singularity’ that
inhabits the architectural space in time.
Thus
contrary to common belief, it is more important the inner, intermediate space
than the external, perceivable walls or membrane of the building. Since what
truly matters is the human group that uses an architectonic space to perform a
certain temporal function, which has to be in harmony with the spatial form of
the building. So the great architects of any age tried to liberate that inner
space: gothic architects created an inner ‘tall’ space; Renascence masters,
Bruneschelli and Michelangelo, create an inner space of human proportions;
while modern masters, Le Corbusier and Wright, were concerned with destroying
inner walls, leaving a ‘free’, integrated, dynamic space, where humans and
machines could perform their cyclical functions (work spaces, industrial
design).
The
great architects of history tried to harmonize function and form, recognizing
the division of any architectonic work in those 3 Non-AE zones, proper of any Fractal
field, from a cell to a galaxy.
For
example, if we observe the external membrane of a gothic cathedral, it seems to
us ugly, because it is only concerned with structural problems. So its huge
walls and thick, external arches have a dual goal: to isolate and protect the
‘house of God’ and to empty the inner space of the cathedral to create is this
manner a growing height dimension of information that elevates the spirit of
the human herd of believers towards the highest point where the mystique
singularity of God or its human representative, the priest, high in the pulpit,
resides. So the cathedral has an external membrane, a mass of human believers,
its intermediate quanta, and an invisible, ‘high’, central, informative
singularity, the ‘God’ that transmits its informative code through verbal books
read by the priest on the altar or pulpit. In those temples God’s
representative, the priest, is the informative element that dominates the
energy quanta of the collective subconscious, the believers, who create the
membrane of the Cathedral. When the renaissance, individualist merchants and
warriors, forgot the collective ‘God’, and made man his own God, the form of
buildings changed, acquiring individual, human proportions to suit the needs of
the new dominant, informative singularities. Today, as we substitute humans by
machines, the new protagonist of a growing global space-time – the economic
ecosystem – again buildings are designed as factories that suit the needs of
those machine’s quanta that are shaping a new, global Non A-E space-time
territory. So after the age of cathedrals it came the gunpowder age of human
masters and then the age of machines, when Gropius and Le Corbusier affirmed
that factories are the models of ‘functional architecture’. And so no longer
man or its social gods will be the center of history. Only a few human masters,
like Gaudi or Wright built for social gods and human pleasure.
31.
The Gunpowder Age: ± 1200 AD, 1945 AD.
The 80 years cycle of national power.
The age of chivalry and social gods ended when the
Chinese Taoists discovered gunpowder. Mongols learnt to manufacture it after
conquering
In 1204 Venetians loot
In Europe the gunpowder wave provokes an age of
civil wars, like the 100 years war in
Now the new wave of gunpowder weapons carried by
European nations and their gunboat companies spreads worldwide, extinguishing
all rival civilizations, and shortening the cycle of World Wars to a mere 80
years. Since the devolution of History has started and so now cultural
organisms decrease in size from civilizations back into tribal nations; and so
happens to its cycles of existence that decrease in a surprising decametric
scale to a mere 80 years, in a process parallel to the process of ‘death and
resurrection’ of mystique, social Gods .
Thus, in each 80 years gunpowder sub-cycle a
European country became the world power thanks to its gunpowder weapons. Then
it went through the same 3 ages of a classic civilization reduced now to 3
human generations. And finally it ended, becoming destroyed in a new World War
by a raising economic and imperial, rival nation that substituted the old
nation on top of the world military power… only to fall again after another
70-80 years period. From now on, a World Top Predator Civilization is no longer
defined in cultural terms by its mass number of ‘believers’ and degree of
verbal evolution as Judaism, Christianity or Islam were; but in terms of
information (money): Max.T (financial power) x Max.E (military power)=Top
Predator Nation.
Thus European nations with better gunpowder weapons
and bigger gold reserves like
So we can subdivide the 800 years of the gunpowder
cycle, according to the decametric scale, in 3x3+1=10 sub-cycles of ±70-80
years of national power in which economic power moves from:
- Youth: Humanist age or Italian culture and its 3
leading city-nations (
- 3rd informative, age: Northern
European, Protestant culture and its 3 leading nations (
- +1: To end when gunpowder gives way to digital
weapons (Atomic Bombs, electronic weapons), in the American culture, hardly
directed by humans, as the Free Market gives absolute rights to
company-mothers, weapons and machines, regardless of the harm they can do to
human beings:
The
Italian Age: 1208-1446: Humanism: The Renaissance.
Renaissance reached its cultural height in
Italy in 3 ages: the lineal trecento, the realist cuatroccento and the age of
decay, started in the cinquecento and prolonged through the baroque period,
when bigger countries developed better gunpowder weapons, conquering
In 1208
The
Iberian Age: 1446-1604.
I Age: Epic, arrogant
Classic Age: realist III Age: baroque,
extinctive
We left 5 suns behind
He had an absurd thought
I saw the walls of my beloved nation
on seas no men had ever sailed,
To become a knight errant not so long
strong,
when we heard a colossus’ voice
For the glory of his nation
now in ruins,
rising above the storm…
and travel the world to do noble actions. Tired of the ages of life.
Os Luisadas, Camoens XVI C. Quixot, Cervantes, 1605 Poems, Quevedo, 1635.
1446-1525:
From then on,
Caravels (gunboats) and African Gold will give power to the Portuguese.
Vasco de Gama opens the African route to Asia taking away from
It is also the Golden
age of the Spanish culture, which ends in the XVII C. Spanish and Latin
American Baroque, which gave us Cervantes and Velasquez, among other artistic
descriptions of human vanity and decaying culture. Since now a faster way to
reproduce money (Dutch stock-paper) and war machines (industrial systems of
gunboat re=production) displace the lazy conquistadors relying on servants,
mercenary armies, land muskets and gold, to a second-rate power.
- The Dutch Age:1608-1688: Gunboats, the press and
VOC, the first stock paper company transform Holland in the dominant world power in control of the 3 most advanced network
systems of an economic nation: energetic weapons, verbal/visual information and
reproductive, monetary flows. The press with its mathematical graphics and the
microscope and telescope start also the dominion of
But
- The French Age. 1688-1768: French Artillery and
mercantile policies dominate the 80 years ‘golden age’ of French power.
Mercantilism gives
- The Age of
Now the evolution of
metal, becomes the evolution of machines, which again go through 3 phases:
- Max. E: The Steam
Age of huge energetic transport Machines or age of
- E=T: The Age of
Yet
- Max.T:
(1928-2008) The Age of
Thus,
during the Industrial evolution and reproduction of weapons, the cycle of war
accelerates to 72 years. Since it becomes professionalized by the new
‘organism’ of warrior and go(l)d power, the ‘company-mother of machines’, ruled
by monetary, digital orders, evolved by A-science under the alibi of the
scientific method that proclaims the superiority of sensorial machines and
digital languages over human languages and artistic senses; and carried about
by the same Germanic white tribes, now organized in ‘nations’. All has changed
to remain cyclically the same.
32. The digital age (1945-?). Computer weapons. The American baroque.
American film
shows a puritan, lineal age with the western and romantic epics, a classic age
after II WW. of sensorial pleasures and a prophetic angst in the sci-fi movies
of the future.
As
the long cycles of civilizations destroyed by war, ended in a baroque period of
pessimism, the 3 cycles of evolution of machines and World Wars, shortened to
70-80 years , are predicted by art, which at the end of each period in a
baroque age of angst foresee the destruction of their nations:
-
In the I Cycle, during the 1860s age of Steam Wars, steamers and trains that
expand colonial empires, we witnessed an age of cultural baroque, from Poe in
an
- Then in the II Cycle, between I and II W.W.
we lived the European baroque, the –isms, from expressionism to cubism that
portrayed in advance the corpses of the Holocaust, while the Nazis were mass
producing tanks and bombs to come out of the economical crisis .
-
While in the present III Electronic Cycle, America, its leading nation, has
passed through an infantile age of enthusiasm for electronic machines with the
1st days of television, to a mature age of world-wide reproductive
expansion of its industries with the invention of the chip and the PC, to a 3rd
age of TV violence, Big Brother surveillance and global war, fuelled by the
evolution of electronic ‘smart weapons’. Now global art lives the American baroque that
warns us against smart weapons, which are becoming the economical engine of the
American economy. It is not a sci-fi fantasy. The 3
Industrial R=evolutions of machines mean the end of man as the most evolved
species on Earth that now changes its top predator mind from humans to chips
and its top predator body from animal life to weapons-machines, terraforming
the Historic World into an Economic Ecosystem . Artists and verbal, ethic writers,
the ‘scientists of history’, foresee, as all scientists do, that change and
warn us against the evolution of robots, which according to the laws of
Evolution might extinguish mankind. The fact that American art in its baroque
age has repeated once and again those warnings, as other artists did in all
historic cycles that ended in war, just before the extinction of their cultures
happened, while the political leaders of those nations have always masked the
extinctive future with optimistic, fascist symbols of victory, proves that we
should listen to the masters of verbal, human thought, not to the
self-interested techno-utopian fantasies of AE-scientists and economists.
Thus in the last
chapter dedicated to the analysis of the future, we will consider the economic,
war cycle of present America and its future, from the perspective of verbal,
temporal prophetic, and historic thought. Since if art, the spatial mind of civilizations
has shown ‘prophetic traits’, explaining in space the extinctive nature its
spatial anti-human, military, technological civilizations, the other fruits of
the Tree of Science; the temporal mind of a culture, the prophetic, ethic,
verbal, religious masters of love, have done the same, criticising their
anti-truth, the civilizations of informative Go(l)d, explaining how monetary
power and weapons, corrupt together and destroy those civilizations.
CHAPTER
XIV.
THEOLOGY. THE PARADOX OF HISTORY. THE AGE OF
WOR(L)DS
I. THE WAVE OF HISTORY.
In the graph, the
wave of history fluctuates between 2 types of civilizations belonging to the
ecosystem of Gaia or the economic
ecosystem, the Metal-Earth.
1. The Paradox of History: Metal Species
Against Human Species. The wave of History.
Humankind uses 2 basic languages of knowledge:
words and digital money that deliver opposite orders and inverse information
about the values of things. Truth is relativistic, always subjective, favoring
the species that speaks the language. The verbal language favors human values
and the survival of man. In the same manner, monetary prices value more and so
favor the evolution of metal. Both oppose in the practical world because they
help the survival of different species that often destroy each other. Weapons,
the most perfect, expensive=valuable machines made of metal ‘extinguish’ life
and machines destroy Gaia, the life-Earth. It is the paradox of history Vs
economics:
Max.
Economic wealth=Max. weapons =Max. war=Max. human and life extinction.
So as countries have become
richer the death toll of the ‘bad fruits’ of technology has increased. In
biological terms metal energy preys on human energy, the bodies of cellular
men. While money and the negative machines it also helps to reproduce (weapons
and metal-communicators such as TVs) prey on and substitute verbal ethics and
religions of love. Thus Economics, which relies on monetary values to price the
world, will always be opposed to Ethics and its verbal values. For that reason
in the last chapter we introduce ‘Ethonomics’, an economic ecosystem
based in human, verbal, ethic values not in the extinctive values of money. But
Verbal Ethonomics is today a ‘theoretical discipline’, as all countries are
ruled by monetary, digital Economics. So Economics is defined as the ideology
that promotes the values of money, transforming the world to the image and
resemblance of its values, into a place where money, machines and the
‘company-mothers’ that manufacture them are considered superior to human beings
and their verbal governments. It is the ideology of Free Markets that opposes
to the ideology of ‘Social democracies’ that value more humans and laws. Thus
as money evolved from go(l)d into paper-money that represents a piece of a
company, which reproduces and evolves machines, the fight of cultures has
evolved into a fight between Economic ideologies, free markets and
‘company-mothers’ in search of absolute rights to price the world Vs social
democracies which, as religions did, try to create human social networks based
in social love. How money substitutes words in the design of the Earth? With
orders of consumption (prices) and work orders (wages) that men follow instead
of their natural will to feed, reproduce, acquire verbal information and evolve
through the ethics social love. So money creates a ‘hidden structure’ of
digital information that acts inversely to the goals and mandates of ethic
history, establishing a constant struggle between both kinds of Worlds. In the
Universe it happens with the networks of ‘dark matter’ we don’t perceive, which
dominate the light world and design its form . In History we do not see money.
So very few people perceive how money corrupts our Democracies, creates, controls
and designs our life, inventing the future through wages, prices and salaries.
Instead most people believe, as astronomers did before discovering dark matter
that they exist in a society designed by democratic, verbal laws. But money is
the language that creates the future of our ‘Free Markets’. Anti-ethic,
hierarchical companies that control money and reproduce machines and weapons,
are the dominant ‘legal citizens’ of democratic societies . Thus the engine of
history is the opposition between those 2 languages of value, words and money
and the 2 physical species they rule, human flesh and weapons or machines, more
complex organic species of metal that sometimes evolve humanity giving us more
energy and information and sometimes destroy us . Those languages created
through the 3 ages of history 2 kinds of civilizations with opposite values, in
a constant struggle won mostly by metal and digital languages.
In the graph we observe those 2
inverse social systems along the events of history, through the opposition
between cultures where wor(l)ds rule societies and animetal civilizations ruled
by metal orders, delivered by money and weapons. We talk of a ‘fluctuation’
between ages in which verbal information controls societies and ages in which
the ‘ecosystem’ of metal-information controls humans. A representation of that
fluctuation is the wave of History, which can be quantized and applied to every
single society, which is also ‘dual,’ divided between social believers and
animetals castes, since the age of Genesis to the modern age of
European colonialism and extinction of 3rd world cultures; as even
the most extreme animetal cultures have prophets of love . Since every ying has
a drop of yang. The 3 languages of History, as the 3 types of DNA in a cell or the 3 quarks
in an atom, fluctuate in their control of Planet Earth, creating a ternary
wave, showed in the graph with different consequences for mankind; since
societies dominated by weapons or money become cyclically extinct in wars and
holocausts in which warriors and bankers exterminate each other; while
religious societies based in wor(l)ds survive. Yet when confronted with ethic
cultures, warriors and bankers ally together against them. So we reduce that
fight to a duality, the paradox of History:
- E=T: Life-based
Gaia cultures natural to mankind and dominant in the youth
of history, based on verbal networks of ethic, social information that foster
love and energetic networks of natural food (Neolithic, agricultural,
theocratic and socialist cultures) confronted to:
- Max. E x Max. T: Animetal
civilizations based in energetic networks of metal
(military armies) or metal-information (monetary networks), which foster the
evolution of organic metal (technological machines). The clash of those 2 types
of civilizations continues today between capitalism and socialism, between the
1st and the 3rd world, between the Jewish-American
culture and Islam, which despite its machist shortcomings and inquisitorial,
militaristic corruption, is the last of the Human Western Gods that have
preserved the Life-based Neolithic civilization. Thus the wave of
history fluctuates between both civilizations: The Animetals who rule the world with money,
weapons and machines Vs the Human Beings who want to rule the world with verbal
laws and reproduce human goods, housing, food, education, peace and love...
They are the 2 sides of history that explain the eternal fight between the rich
Vs the poor, the military Vs the oppressed, the scientists Vs the religious
people, the right Vs the left, the yuppies Vs the hippies, the individualists
which rely on machines and money to go through life and the socialists that
rely on other people.
If we
consider the entire wave of Metal-History as a single civilization also with 3
periods, its young, epic age, its classic, humanistic age and its decadent,
industrial age, we can talk of the Bronze and first iron empires of Asia, as
the age of epic war; the period of European infantry and Asian cavalry (from
Greece to Renascence) as the age of maturity of History and the age of the
Industrial Evolution, as the age of extinction of History.
Each of
those ages is divided by a clear discontinuum of evolution of the 2 species of
metal, energy-metal or weapons and informative-metal or money.
Man
adapts himself to those changes, which are symbiotic and help the evolution of
our societies, in a first age, but as metal reproduces in greater numbers, it
suffocates the evolution of human history and the human mind, till with the
arrival of science, the human mind becomes obsolete and men become worshippers
of the minds of machines.
The radiations
of weapons exterminating civilizations prove the biological nature of metal.
Modern, industrial wars are ecosystems of top predator machines, weapons, made
with metal energy, lineal iron, symbiotic to warriors that prey on human
non-technological cultures, causing their death due to the inferior resistance
of carbon-life, cut by iron. We feel war as a horrible experience, the closest
image of hell, of evil, of death, because we enter a non-human world,
other ecosystem, the jungle of metal in which herds of top predator machines
rule supreme. So as weapons evolve, becoming more efficient, their capacity to
exterminate human beings increases.
It is the reproduction of weapons, not of human warriors what causes war.
Historic events are conclusive about the extinctive process of carbon-life in
the hands of weapons, caused by their invention and massive reproduction.
Unfortunately cultures of
metal-masters have evolved those systems of lineal metal from their first
simple forms – the perfect line of energy, the sword – to the present complex,
digital forms – the missile, the plane, the smart weapon... So we talk of 2
ages in the evolution of weapons, the age of simple weapons that goes from the
time of javelins to the time of muskets that we will summarize in this chapter;
and the age of machine-weapons, the age of modern history that will concentrate
our analysis in the last chapters of this book.
Since hard metal, bronze, was
discovered, the Neolithic paradise of human goods that lasted for millennia,
ruled by verbal, informative priests, was substituted by cultures of warrior
kings that oppressed their people with energy weapons, corrupted religious
civilizations based in art and love into war inquisitions and switched the
reproductive systems of the economy from the reproduction of human goods to the
mass-production of weapons, adopting ‘money’, a language of Metal, instead of
‘ethic laws’, as the informative language of society.
In that sense, the wave of history has a clear
inclination in favor of technology that increases its power in a series of
transitions that accelerate its evolution. The first happened in the transition
between the Paleolithic and the Neolithic with the discovery of metal and
agriculture that soon brought ceramics, symbolic thought and writing. It is the
youth of History. The economic and historic cycles had then a mean periodicity
of around 700-800 years. The second acceleration happened in the XVII century with
the invention of the 1st companies, reproducers of the 1st
complex machines (gunboats) and the discovery of the scientific method that
evolves them. It is the age of the machine, the present age of history, when
cycles historic cycles accelerate decametrically to 70-80 years. But with the
arrival of computers after II W.W., history has accelerated even further, as
now digital information is processed much faster than ever before. So now
machines evolve in an 8 years product cycle with parallel cultural and historic
cycles. A fact that has been popularized with the concept of ‘decades’: the
70s, the 90s, etc. Our analysis of those 3 ages, will be opposite to its
length: we did a brief introduction to the very long past of human Neolithic
societies based in religions of love, and a short analysis of the 800 economic
cycles of classic history, to concentrate in the rest of the book on the short
80 years, economic cycles of the Industrial R=evolution , which will allow us
to explore in detail the present and future decades of mankind.
2. The fight of wor(l)ds Vs weapons Vs
money create 3 diffeomorphic histories.
The ternary fight between wor(l)ds, weapons and money and
its 3 upper, informative castes, verbal priests+visual artists, warrior
aristocrats (today politicians) and go(l)d bankers, which try to control the
Earth ecosystems with Wor(l)ds of love, military weapons or Money to create a
global super-organism, is the engine of the events of History and have created
3 diffeomorphic inverse cultures and perceptions of History, based in the
opposition between ethics Vs anti-ethics:
- Max.
E: Warrior cultures perceive the World as a place they have to ‘conquer’ and
rule with weapons due to the superiority of their ‘physical qualities’,
selected through eons of warrior fights and extinctive wars. The Germanic
culture is the paradigm of that perception.
- E=T:
The verbal and artistic perception of mankind is expressed in the Wor(l)d of
its prophets, which tried to create a global super-organism based in social
love in harmony with Nature. The classic cultures of the tempered, balanced
Mediterranean World and its ecumenical religions were its paradigm, though
their time of splendor is long ago gone.
- Max.
T: Go(l)d, hyper-informative cultures, of which the Jewish-Calvinist Old
Testament culture is the paradigm, have been selected by their capacity to
produce technological, digital information, which they revere, first in the
form of money, then in the form of scientific machines. They create a world
guided by the hidden values of money, which they often subconsciously ignore, since
if they understood that the subconscious values of money cause the extinction
of life, as living species they would not work ‘so hard’ to foster those
values. So their cultures are the most complex, paradoxical cultures, in
which first wor(l)ds became mythic fictions, deactivating its ‘ethic
properties’ (Jewish Religion) then were substituted by social customs based in
‘hypocrisy and denial’ the topic forms of anti-ethic behavior of English
cultures to avoid confronting those truths. And finally in its 3rd
evolutionary horizon, in America , verbal truths have been substituted by
abstract ‘digital truths’ and the verbal mind has become so simplified that
people become like children before their ‘age of reason’ and simply don’t even
‘doubt’ about the anti-ethic values of money, the only ‘language of value’ they
know in the ‘Neo-Paleolithic’ visual age.
Today
the authorized vision of most economic and political books, relates the glories
of technology, the superiority of our Free Market civilization and Democratic
systems because the syntax of money has won the battle to dominate the
world, and so it controls most economical and political information .
But as a wor(l)d philosopher put it: ‘even if you win you won’t convince’. Because
man cannot renounce to the ethics of life and survival. So while A-Economics,
which uses digital languages and Go(l)d values, defines only a single arrow of
‘positive future’ for technology and the Economic ecosystem, the only way to
describe objectively history, the economic ecosystem and the go(l)d culture
that evolves it, is from the human perspective, completing the single-arrow
believed by go(l)d cultures that consider monetary values and technology always
positive, with the ethic point of view that describes the negative arrow and
‘collateral effects’ of money and weapons, studying ethically the ternary fight
between the 3 languages and points of view of history:
The
wor(l)d of ethic prophets that have tried to protect the lower classes of
mankind against technology, violence and greed Vs the point of view of animetal
cultures that believe in the Go(l)d values of digital information Vs the
murderous acts of the Warrior cultures that erase them both.
The fundamental
values of the new languages of metal and the actions they create are clear :
Weapons
murder and convert warriors who use them and reproduce them into killers.
Money
enslaves people and converted capitalists who used it into slave owners in the
youth of History and part-time slave owners in the Industrial age, as workers
have to obey all their orders.
Only
the ethics of wor(l)ds are positive, converting those who accept them into
social lovers.
And
those 3 different values will create 3 different ‘histories of mankind’, 3
different tales.
Only those 3 perspectives together give us a complete understanding of
modern History in all its complexity and the destiny of the World from the
Human perspective, which is not the perspective provided by the Go(l)d and
War, animetal cultures that rule the world, blinded by the self-serving
arrogant myths of their religions and A-sciences, but the perspective given by
Wor(l)d Masters.