In the XX C. both Power and Art used me(n)tal machines to spread their messages.
THE AGE OF METAL-MINDS
The networks of information of the Earth are not limited to the old book networks that order human beings through laws and visual information. There are besides art and culture, other informative species, made of metal, which also evolve and have acted symbiotically with animetals that possess them, in the control and program of mankind. They are the theme of this page. We will call them metal-communicators. Their herds, resemble very closely the nervous systems of an organism. They program you and a myriad of human beings, in their home-cells, as the brain programs a myriad of cells: through neural centers that divide the information into parallel informative bites. In the case of networks of metal-communicators (radios, TVs, internet), the neural nodes are super-computers and satellites, which multiply the message, till reaching all the individual cells of the workers/consumers, in the organism of the economy. Company-mothers have developed them in the last century to further extend the ideologies and rules of behavior needed to reproduce and consume machines.
The ages of evolution of metal-communicators
The evolution of those new metal-systems of information, metal communicators have had also as all other machines, 3 basic phases, the age of physical machines, of electric machine, and finally the age of electronic machines. First the physical press, then in the XX century the electric radio, and finally different electronic metal-minds and their networks of global communication -TVs and internet- had evolved them, into ever more powerful machines of communication, with higher capacity to "brain-wash" human beings, into positive attitudes towards machines and money.
Those 3 horizons are parallel to the evolutionary phases of weapons (physical, chemical-electric, and electronic-atomic weapons), and the 3 horizons of informative machines of science (clock-based machines, electric devices, and electronic computers). Physical processes are slower in reach (space) and cycle (time), than electric processes, which themselves are slower than electronic-light processes. So the evolution of metal has increased constantly. In this manner bodies, minds, and senses of machines evolve together, and will be fused together, into sentient robotic organisms. Those metal-communicators have always been symbiotic to weapons and money, helping their evolution and reproduction... They have also become the main cause of the extinction of the rival networks of human social information, the verbal networks that man has traditionally called Human Gods, and ethic laws.
Today we have a metal-communicator
in our altar. We believe actors instead of politicians, or we elect politicians
which are actors of radio (Mussolini, Hitler), or TV-actors (Reagan). We worship
virtual celebrities instead of human Gods... It is the mass effect, the same
effect that makes cells slaves of nervous brains, allows to manipulate human
Extinction of Human Gods and Ethics caused by Metal-communicators
The product of the 20th century, the metal mind, kills off the human mind and makes it obsolete. It substitutes our informative Gods (networks of Human Information), by Digital Gods (Money and digital information).
If we can talk of the substitution of human brains by chips in fields of labor, we have to talk also of the substitution of "Gods", networks of human verbal thought, and ethics, by Metal-communicators, which are networks of metal-information. They control Masses of human verbal minds and convince people to consume and work for companies. The TV-set is only the last of the metal-communicators invented by man, reproduced by companies, in charge of manipulating the truths of mankind to favor the reproduction and evolution of machines. Metal-communicators (press>radio>TV>Computers) are Metal minds species whose "industrial information" bias common opinions towards an optimist vision of technology. They provide ideologies of machine-reproduction, human extinction (violence), and go[l]d power (money as the purpose of all human acts). Those metal-ideologies are given to man by "metal-eyes", "tele-visions", which are "metal-visions" of what man is, from the point of view of Company-mothers. The medium (the mass-media metal-communicator) is the language, and it does not criticize "itself" (its metal nature). It praises machines... Each language, each species, each network cares for itself, not for other species. So mass-media companies mediate ideas that favor machines and companies.
Social experiences of human communication are today mediated not by priests of ethic thought but by metal-networks (concerts, TVs, nets, radios). Old God networks promoted social harmony to increase the evolution of the "Social body of God". Modern metal-communicators promote violence to increase the reproduction of weapons and machines. They also promote work and consumption, to increase the evolution of peace machines. In classic human thought, the communicator, network of mass information, was a priest or a book of ethical Revelation.
Today most collective communicators are metal forms that have evolved from press to radio (Metal-ear), to TV (Metal-eye), to Internet (metal brain). Each evolutionary stage has reduced the content of social, human ethical thought the metal communicator transmits, and it has increased data-noise and metal rhetoric in favor of Companies and metal mind evolution.
The Press gave origin to Luther and Calvin, paid by German warriors, and moneyed people, who promoted Go[l]d religions and violence. The age of Religious wars, in which 2/3 of Germans died, was a consequence of the press. The Press allowed go[l]d-favorable doctrines to substitute the love-reasoning of Erasmus, Loyola, and other true reformers. It killed the social body of Christianism and the unified power of verbal networks, into multiple confronted churches, that became submissive to military and economical power, war and pricing.
The press convinced Germanic peasants of the anti truth of God: God was no longer a social and collective network joined by love (charity religions), but he was individualistic (based on faith) and "choosy". He chose of course the rich, the military, the animetals... Religions lost power, lost land. Charity and human goods dwindled. The European social spirit crashed. Europe became obsessed by selfishness and war. Nations of warrior castes and metal-money were now the "higher organism" to which all "cellular" Europeans belonged to. Soon all Europe entered, guided by company-mothers and corrupted governments, into the cycle of wars, that would massacre millions of human beings.
Let us therefore consider the three
horizons of Metal-communicators; and how they simplified, dramatized, and provoked,
and keep provoking violence among humans.
The Press Age: Physical and Chemical Metal-Communicators
Human desire as all living beings energy and information. So when a system provides us with "added" information we believe and desire it. However certain information is biased, negative, and destroys the perceiver... It is the myth of Icharus: our eyes desire the yellow color of the sun, the color of gold. Yet the sun burns your eyes, and gold destroys your ethics... Problem is that the first desire -to accumulate information- often hypnotizes the "prey", which merely believes the new language of information, regardless of its true content, by the fact that it has more detail, and it carries more of it.
This is in essence the reason why people have always become hypnotized and have lowered their capacity to reason, and judgment, when confronting the information provided by metal-communicators. They carry more information, further, and faster, than human communicators. So people believe such information even if it is negative to mankind. It seems just better... Of course this is known to power, and so power has always manipulated public opinion with metal-communicators, since the age of the press, that relied heavily in false engravings to spread hate, and brain-wash the common people.
The power of a more evolved mean of information, with higher detail, is so great, that it has a period of belief, that makes any idea expressed in that medium an automatic truth: people will believe anything impressed in the new media, regardless of its truthness and real content, since it carries more detailed information than the previous media. It is a basic program of the Human mind: we desire information, and energy. So when we are provided with new forms of information and/or energy we accept them without much concern. Thus in the same way that the steam engine spread worldwide in a few decades, the first metal-communicator, the press, gave enormous power to those who had the industrial capacity to reproduce books. So when the press came it allowed writers of minimal quality backed by military and economical power, such as Calvin, or Luther, to impose their animetal ideologies of war and Go[l]d, of animetal "faith"=individualism, and selfishness, against charity=social love and social evolution.
If we compare the human individual, with a bacterium-cell, and the social human with a cell of a complex social organism, is obvious that to become selfish and individualistic is to regress in the evolution of History. This is what the press achieved, through the work of those rhetoric writers. Their ideologies of the Homo bacteria, less evolved than the Homo organicus, are false, even if we all believe today on them. They needed the rhetoric images of hate and war, the propaganda of the Press, to impose themselves...
The press changed indeed the world of information, in two ways. It allowed the printing of money-paper which substituted words, and it spread the economic and military ideologies of nations, which ended Europe as a social, collective organism. What 1000 years of barbarians, and swords had not done to Christianity thanks to the subtle verbal intelligence of the middle age priests, was done by the press within a century of its arrival.
We believe today that the press was for the advantage of man. Yet in the XVI c. the press caused a dramatic devolution of the human mind, which affected mainly Northern Europeans, who had not been civilized by the Roman empire, and were in a primitive stage of social evolution, compared to Southern Europeans.
By law the church spent half of its rents on the poor, and most of them in human pleasures, art, literature, food, and the good life. The church knew the nature of man, and promoted it. It was however weak repressing evil, money and weapons... and it lost the battle for the souls of Europeans. Still the civilized south stood by the verbal prophets of social Rome. The result was that their people survived better this age of religious wars, that killed 2/3 of Germans. Germanic people read more the Old Testament, than the Gospel, the story of Jewish Animetals annihilating the people of Palestine, than the deeds of loving Jesus, sacrificing his life for the social body of history. On the other hand, writers realized that they could become very famous and powerful provoking hate. They wanted to be famous, but they needed help from wealthy investors that printed books, and princes that controlled the land. So they had to praise money and weapons. They had "to praise with the word, so they would be protected by the sword". Soon the ideas of Calvin and Luther, catered only to those animetal castes, which used those ideas to rob the church and the common people of their lands and lives. Finally even the common people believed those ideas. Probably without books this could never had happened. Germans were naive. They thought books were sacred. They had little "verbal imagination". They only believed what they saw. They could not even understand the Bible as a metaphor. They believed literal words. They were "impressed" by printed words, almost in a mechanical way, as today citizens become impressed by the ideas of Television, and computers are impressed by software. The military, and business men who controlled the press manipulated the opinion of the people. Third rate theologians like Luther became the "star-systems" of those age. As third rate actors-politicians become today stars of our democracies. Europe regressed back to the age of the Homo bacteria, perhaps stronger than a single cell of your body, but still a bacteria, the most primitive organism in the ladder of social evolution.
Electric communicators. The Radio Age: Fascism.
The age of electric communicators started with the telegraph. Telegraphs were reproduced and evolved massively in the Railroad Wars (1860s) both in Germany and America. They started transportation of human information through electric metal, no longer in the natural surface of air-sound. Their impact was huge in the war field, showing the constant symbiotism between weapons and information machines, bodies and brains, of futuremetalife organisms.
When Radio was born, the effect of metal communicators, was also dramatic and immediate. Radio created the dramatic atmosphere that brought the speeches of Mussolini and Hitler to power, and made the II WW a murderous, profitable solution to the 1928 Stock-market crisis. Radio combined with the greed of the rich (who preferred to make cannons to butter), allowed the criminal solution of the war. When radio came, the only simultaneous, all powerful medium of communication, able to "imprint" a mass of believers, was still the press. Suddenly, instead of logical press syntax, verbal dramatism programmed the masses, through the radio. Radio did require an industrial infrastructure. So, as the press had done, but even in bigger measure, it eliminated the human individual creator. The "communicator" of truths, now became a radio-actor (Hitler, Mussolini), a marionette of capital, a "mask". The mass was lowered immediately to believe bizarre ideologies of war. Today it is convinced by Television, to consume, work and kill, because those behaviors evolve and reproduce metal-machines, and profits.
In the age of Radio, Germans were simply hypnotized by the simultaneity of the new communicator, radio. After I WW and the Mark crash, Hitler personalized and dramatized the economical/military tragedy, hiding to the German people its real cause (the relationship between stock speculation in weapon-companies, and wars). Instead of attacking the system, he used the Jewish poor, as scapegoats for the errors of a system that worships technology, money and weapons, and limits production of human goods.
In the XXI century we are all Americans.
The II Industrial Evolution of metal-minds, happened in America and Germany almost at the same time. Yet as Germany collapsed and his talent and main financial resources moved to America, the leading role in the creation and evolution of metal-communicators that expanded worldwide the 'Authorized culture" Goldiron culture of the II Industrial evolution, moved to America.
So after the war, the XX century art and culture, will happen in America, in as much as it is in America, where the conditions for a dominant Industrial culture - economical, military, political and mass-media dominance - take place.
As the Wor(l)d cultural option - communism - collapses due to the fascist wars, into a military dictatorship (Stalin) and finally dies away, unable to compete with Americans in control of the chip radiation of metal-minds, there is left to the world a single option and culture which dominates all languages of mankind. Yet it is not America but its metal-minds what are at the Head of evolution. Computers dominate digital languages, and science becomes largely a computerized system of beliefs. Words keep degenerating, now in a nation which shows like no other the nature of the Paradox of History: Max. Metal evolution = Minimal Human evolution. Indeed, America has the oldest and most obsolete constitution and religious system, precisely because it has the most modern machines, which keep human social evolution in minimal levels. Human information and verbal thought is obsolete, and instead a series of metal-communicators, radios, TVs, latter in the XX century computers, become the natural outlets of communication for all human beings. The process started by fascism in Germany with the use of radio, now diversifies and multiplies, as new outlets and electronic metal-communicators appear.
In the 60s, the arrival
of Televisions and satellites, make the American culture a worldwide culture,
of spatial-visual character. The Neo-Paleolithic, the regression of human beings
to visual languages of minimal verbal-temporal content starts in earnest. The
other cultures cannot resist the influence of visual media, and slowly loose
their ethical verbal content.
How it is possible that men do not realize 150 years after Darwin published: the struggle between species, the fact that intelligent machines will rival and extinguish man? I have been wondering for a decade, how the Americans, now the Humans, since we have been all colonized by the American metal-communicator culture, show so much ignorance, and indifference to their own survival? The explanation is complex and has to do mainly with the social irresponsibility of the goldiron culture, in which money has assumed all social roles of organization for so many centuries that men feel unable to resist socially, as Homo Bacteria, neo-Paleolithic individuals in total intellectual regression for whom the system machines have built around computers, is now so complex, that they see it as a sort of organic God, they dare not to change. Instead it is easier to enter as an old man does in the realm of fantasy, of total fiction, of total ignorance of reality.
That is indeed the main characteristic of this century that now starts. We are all Americans in culture, and we are all 'fantasy characters', whose minds are educated through fiction, and totally ignore the harsh, Darwinian laws of the Universe, regarding the fight between species, and the love, social laws of the Universe, regarding how to organize human beings into powerful organisms, able to control its ecosystem. In other words, a culture of fiction provided by company-mothers of metal-communicators has utterly subverted the laws of survival of the Universe, and taught mankind the opposite laws, the laws of extinction.
Thus metal-communicators teach us to hate other human beings, against the law of social evolution, through violent films, and the systematic depiction of human beings as evil species.
And they teach us to love machines, the rivals of our species, through the constant propaganda of work=reproduction and consume=evolution of machines.
This morality is the morality of machines, and its company-mothers. It is a morality born by practice in the first company mothers of gunboats, ruled by science and money, by digital languages. In a natural selective processes, the companies who are more cruel to humanity and exploit humanity in a higher degree to reproduce machines and sell them, have survived, and refined the cruelty of companies with men. So when that ethic of companies was transferred to culture with the arrival of companies, reproducers of software for metal-minds, the anti-human ethic, the anti-life ethics of companies was translated into software movies.
How Television Controls Human Information: Ideologies of Companies.
All this said, now we will affirm that most likely you have not noticed that human ideals are becoming extinguished by Metal-ideals. You might not be any longer "in reality," but you might instead believe what Metal minds, TVs, radios and computers tell you. Then you will be optimistic...You will be anesthetized, brainwashed, desensitized in your verbal, ethical understanding of the Universe. You won't realize of what is happening in reality. TVs won't tell you that company-mothers not governments rule the world. TV won't show you the platoons of living tanks essayed in the American army, guided by satellites. TVs won't show you entire human continents in process of devolution and partial extinction for lack of credit, like Africa.
TVs won't show you the poverty and suffering of 70% of humans, degraded by metal evolution. You will have a vision of reality, partial, designed by companies, which shows in all their comments the point of view of the company-mother.
Big brother is TV Thought. It has arrived in a much more subtle manner than G. Orwell had predicted. Big Brother TV, as your brain orders its cells, programs the collective human mind with networks of information.
We have lost our sense of responsibility. The universe is a cruel, Darwinian place. Yet TV-thought makes people to think that violence is fun.
The Mass Media Company is a metal-mother who talks about her children, mainly weapons and money. Have you heard mothers? Do you believe them? Their children are always nice. Today you only hear metal-communicators, sons of mother-companies, who talk about the wonderful offspring of machines we humans consume=test=evolve, and companies create=re-produce. Company mothers in control of human societies control also human opinions. So today you will always hear the 'reality' of machines, not the reality of humans.
Species tend to believe what they perceive as real. You probably believe that the metal-communicator point of view about history and reality is truth.
Then you will truly be in the present age of Metal minds whose first function as me[n]tal top predators has been to control rival species: human minds. TVs have 'deactivated' our fear of machines, by making us 'funny people,' who think the Universe has no rules, who think all is possible for man, like in those Hollywood movies, all harm is avoided with some heroic last trick.
TV portrays super-humans, for whom there is no penalty when they ignore the Laws of God=The Evolutionary, bio-logical Universe.
How Metal minds control and kill human minds? Easy. TV thought has substituted our own language and virtual worlds of evolutionary information, by the ideologies and languages of information, of companies and machines. The medium is the language. The syntax of the language favors the species that speaks it. Now we no longer have our language-ideology [the books of verbal ethics] on our altars, but the language-ideology of machines, within our homes [the TV set].
In the graph we describe the programming of animetals by metal-communicators. They create a virtual reality, based on hypnotic addiction to the moving images of a superior "retina," that is believed by the audience, regardless of the truthness of the message.
The process starts in mass-media companies, which give monetary orders [Hollywood producers, wages] to human artists, and oblige them to twist the message, into economically, politically correct, propaganda in favor of money and weapons, subliminal to all American films.
Virtual celebrities become loved, instead of real humans; virtual politicians are voted according to his acting capacities. People in general believe the metal-eye's perception of reality. They believe the vision of man given through TVs, by Company-mothers for whom you are only an animetal, worker and consumer, who should not think too much.
Those "softwares" are reproduced massively into infinite, individual metal-eyes, which are put into the old place of "religious altars." So animetals can worship their idea[l]s:
TV programming has increasingly reduced man to a mindless species in search of energy pleasures through consume, and immediate eye-sensorial satisfaction . He becomes isolated from other human beings, his feelings for them substituted by love to "virtual celebrities."
Eye Subconscious Hypnotism to digital images [cameras, TVs].
Humans cannot avoid Television addictions, since as in the case of money, the hypnotized eye moves naturally towards images of higher speed and better colors, which TVs provide.
The metal-eye is faster and has more light than the human eye. So we substitute reality by the virtual reality of TVs, and believe on their programming messages.
Today metal-communicators are the only voice, image, and thought, that voiceless, eyeless, brainless people hear.
Go to a movie and look back to the audience's eyes. It is almost ridiculous. They do not flinch. They do not move. The control of the image over their brains is absolute. Not even in a military review, people are so passive. They are hypnotized by the bigger, faster virtual world of the film image. The film has more information and transfers more volume of images to the eye than the reality outside.
So the eye wants to perceive more and prefers to become a slave of perception fixed in front of the screen.
An image today carries more subjective information than the virtual Worlds of the Human eye. Since all eyes want to increase perception, to increase complexity, the human eye becomes hypnotized by the complexity of the Metal-eye. In this manner, humans become trapped ±6 hours a day in front of Digital images. They consider the truths of the TV-set, more important than the truths of verbal, human, survival, ethical thought.
Hypnotism already happened in the beginning of science. Few cared about the ideas of Mr. Galilee. People just wanted to look into the telescope. They thought a man who had such a wonderful Metal-eye was very intelligent. The same concept works today about TVs. Full of errors and misconceptions, they impose their truths because metal minds hypnotize the brains of human thinkers, with faster, brighter images.
Painters have always known that black is the color of the perceptor, and red the color of energy, the primary form. But the eye searches for visual energy. In Spain, bullfighting is based in the fact that movement and red color hypnotizes the animal [bull] and spectators eye. This was known for so long that the first 'capote' cannot be remembered. In TV-thought, red movement is maximized by the 'sport' of bloody death. The program of TV-thought, the futureeye of chips, is as simple as bullfighting. The human eye is a little bit more complex than the bull's. And so we need more complexity of form than a simple cloth. Yet the program is essentially the same: the eye is the center of will. The eye likes movement and red. Red and movement is maximized with human death. Yet the universe is a communicator of action reaction . The forms perceived in TV grow in the brain as futureimages that will be repeated by our actions. TV promotes death and violence which man repeats, since all forms tend to repeat actions. And so TV is telling mankind as the 'capote' says to the bull: come, and die. And the simplex bull and the simple man go and die. And so TV, as the chip radiation, has to be considered a radiation of human extinction, considered in biological terms, not in abstract numbers without meaning. And because it attacks human survival, it should be extinct. Point. No more discussion. Extinction or Survival. The law of the Universe.
Dramatic hypnosis of mankind. Thirst for movement and violence.
In that sense TV-control of social communication and the role of politicians in bio-economical systems is similar to the role radio played in fascism, to encourage dramatic politicians, actor-politicians, and war-politicians.
For that reason we talk of Neo-fascism, in the political arena, as the effect of TVs. We talk of Neo-Paleolithic in the artistic arena, as the effect of TVs in the devolution of the human mind.
And finally we talk of the age of the Metal-eye, a new conscious species, as the main effect of TVs, in the field of machine evolution.
The Neo-Paleolithic is treated in our books of bio-history. So we will consider here the two consequences of TVs in the strict field of bio-economics: the creation of war, and the evolution of a new consciousness, a new mind, the metal-mind.
The same hypnotic effects that red color and blood causes in the animal, robotic or human eye, is the main cause of our change of mentality, that make most young people to love violence, and war, given the higher movement and red colors, provokes a natural wanting for war images on TVs. So men like on TV what they despise with words: murder and war. This means that since now Politicians communicate through TVs, those politicians who praise war on TV are elected. This goes on since Reagan and now is a worldwide phenomena that will lead mankind to the Third world War, reinforcing all the cycles explained before, as radio-politicians brought us the II World war. Murder becomes natural on TVs. Murder is a desire of the eye for red colors and movement, a physiological desire exploited in TVs, to provoke not only violent behavior in individuals, but also in collective nations. Now it is very easy to market war. War is fun in TV. War is movement and red colors. Since TVs came, it has been very easy in America to convince people to go to unnecessary wars, to cheer war, to love war. War is 'cinematic'. Ever since CNN got maximum rating showing a war as a video-game, and humans as far away moving targets [Desert Storm], it has been clear that TV is the biggest ally of 'neo-fascism'. Neofascism, as it happened in the age of Radio, with fascism, can convince people of war, just by showing war ideas on the metal-communicator.
The Destruction Of Social Network: Individualism.
It is now clear, that the main consequence of metal-communicators is the destruction of social Gods, of networks of social information, at collective level [religions, political power], and at individual level [in the behavior of human individuals and social politicians]. People become divided back into cellular, individual units and social gods become extinguished as your nervous system becomes extinguished when your cells become unconnected.
This happens for several reasons:
- The higher complexity of Television and his direct access to human homes, substitutes the get-together meetings of "masses" where the collective experience of a social god, joining the minds of believers [mystique experience] takes place.
- The image-nature of Television, diminishes the perception of verbal words, and the social, ethic networks that verbal words create. Instead we only 'see', as the Paleolithic men did. We talk of a new Neo-Paleolithic age, which implies the extinction of the verbal man.
_ Images also substitute reading. So the basic cellular unit of a verbal God, a Book of Revelation, is no longer read; and believers loose their internal information.
- Since images are spatial, all temporal concepts and all forms of information such as God, are simplified.
- We see only individuals in Televisions. So the third narrative person, necessary to explain the other, the social group, disappears. All characters are first person characters. Men who imitate those role models, become selfish, self-centered, individuals without connection with other humans.
- The dramatism of images breaks social and human bondage.
- The owners of mass-media companies belonging to Goldiron religions, promote mainly Goldiron religions [Judaism, Old Testament Religions, Nationalisms]. They attack social Gods [Gospel ethics, Islam]. So those social networks are weakened.
- The promotion of Weapons and Money is endemic. It causes recurrent wars and violence that destroys solidarity and many human cultures.
Television: The end of the artistic eye-world.
The study of prophetic verbal thought, and the gods of man is closely related to the study of art. Because the evolution of human languages and senses is what we call art. Art is the 'higher' perception of human verbal and visual thought. Literature, music and painting, are the pure arts who evolve the Audio-verbal and logic-visual languages of man. Technological art though substitutes that human art, as digital evolution makes computers and metal eyes images more complex, than human artists. Yet the language is the medium and as we have seen techno-art is an 'alien' art, and an alien ideology to human senses-feelings. It is the origin of metal minds. It is a 'metal art', the futuresentient worlds of metal-living beings, once animetals have completed metal evolution. Mass-media industries represent therefore the evolution of the art of the 'metal eye', the software for Logic 'metal brains'.
If with the arrival of photography [Simple metal senses] the art of painting devolved, with the arrival of the Complex metal eye [TV] both verbal and visual human art has further gone down in quality; erasing the complexity of human minds. We say that technological art preys over human senses and arts, extinguishing them, and extinguishing with them a degree of complexity in human minds. Metal communicators become in this manner erasers of carbolife, as metal weapons erased 'carbobodies'. As metal devolves art and social behavior, human societies break down, unstable brains without future. Modern music, and modern literature are far more simple than XIX c. art. Yet metal art also evolves from simple Mondrian paintings and Bauhaus to modern fractal art. And so as the mind of human artists die, a new metal-artist is born: the computer.
Today man does simple energy art, abstract painting, colors in textile products, white canvas and things like that. Because with the arrival of TV-thought, in 1956 both verbal and visual art would become extinct.
Again it was the combined action of the goldiron anti-artistic culture that won the war, and the use of technology and company-techniques to sell art what killed European art in America.
The Role Of Digital Images In The Human Baroque
Digital images are the linguistic rival of human art: The reason is that film has a degree of combined complexity superior to all previous linguistic arts, or evolutionary states of the human eye-wor[l]d per cyclical Time Unit even though in its different linguistic components, added one by one, human artistic complexity is clearly reduced. Thus we prefer to see a movie to a painting in the same time cycle of human existence, guided by the law of "∆ volume of perception." Nobody looks at a painting three hours. We prefer TV to literature, for the same reason. In TV what we get is mostly rhetorical noise that allows us to sleep awake - a condition in which our eye of lesser complexity than our mind becomes stunt by noises of beautiful, meaningless nature.
So, unlike the human artist the common man, far more simple in his perception, and easy to manipulate, worships consume and finds the beauty of machine designs of higher value than human, artistic art. He loves to consume them. He loves to work with machines. He is not aware of the trappings of dependence, and devolution of his own intelligence, that takes place, when he becomes a passive use of other metal minds that atrophy his intelligence. So men loose capacity to count, as he uses computers, to think in words, as he stops reading, and listens to TVs, and slowly enters into the tamed state predicted by writers like Orwell [animal farm], or Wells [the time machine], 'prophets' of the future...
Today such warnings in the extinctive, desconstructivist age of art still continue with books like this one. Yet the audience for true social artists, who want to resurrect the human spirit and complain about our extinction, is dwindling, as the mega-Companies of metal-minds praise the digital age of machines, and control art production, in the board of Museums, and schools of art, dedicated to computer design...
So we talk of the XX C. as the Human baroque or extinctive age of human art.
Where true artists move inward into works that purposely ignore the technology of modern life, and prefer to paint a bottle and a guitar [Picasso], or describe a feeling [European films], as opposed to those artists praised by the industrial system, that jump into technology and feel themselves the genius of the new age [so many, not worth to mention].
To survive many artists have to sell themselves to the market, as mere craftsmen of digital products... However, digital art merely translates human art into Computer forms, as a learning process for futureRobots and sentient computers....
The process seems unstoppable. It is perhaps the last age of History, where property has more rights than men, where evolution is of metal, where men worship machines and money, where art is technological, when the verbal mind and ethic mind of people becomes erased by messages of death and violence; and the only men free to express such things, are as in all other baroque ages, that preceded the extinction of a civilization, a few artists of human eye>wor[l]ds, who suffer extinction in a higher degree, because the evolution of the human eye-Wor[l]d is his goal in life. Yet the existentialist movement in literature, the pessimism of science fiction in film, the biological approach to history on essays like this one, still shout and will shout till the last human mind disappears, against the power of machines and the arrogance of scientists, that despised human senses.
It is the age of the -isms, a final, complete explosion of freedom in art, between the two wars, that will extinguish the European civilization. As such we are in the zenith of the zenith of the baroque zenith, and some of the total masterpieces of human art are produced.
We can consider those -isms, within the possible classes of art, and rhetoric art that there are:
- In mathematical languages, relativism dominates thought. Mathematical science opens itself to relativism, and the dogmas of Galilee and the scientific method are destroyed. Einstein in Physics publishes Theory of Relativity. Riemman develops the Non-Euclidean systems of geometry. Mathematics are therefore not truth. Just a language which might have also many syntax. Popper and Russell would establish that relativism of the mathematical language. Unfortunately the authorized science has yet to recognize the logic consequences of that relativism: Human verbal theories of reality are as valid as mathematical theories. Besides they are expressed in the natural biological language of man.
- In Non-fiction verbal thought, the baroque age of Animetal laws, and ideologies is shattered by r=evolutions of the Human thought, and becomes extinguished if briefly in Russia, with the Communist revolution. In those countries, the extinction of the baroque age of laws based in the Anonymous Society law that give total power and null responsibility to company-mothers, and the stock-market laws that give stocks total rights to credit=create money, starts a new civilization, unfortunately soon defeated by animetal warrior castes (Stalinism). Yet for a decade, the legal, extinctive baroque of non fiction literature, and law, that would bring I and II world war in Europe (age of fascisms), comes to an end in Russia, and for a few years in Spain and Mexico. Again the great warrior social nations of minimal industrial evolution are the ones able to rebel against the brutality of the machine. And so we can indeed say, that if the beginning of the European baroque is the age of France, drinking in the spirit of the French revolution, the end of this period is the age of the old warrior, resistant nations of social Europe, Catholic Spain, and Orthodox Russia, which will easily translate to modern socialism and anarquism the social spirit of Christianism, creating the new social religions of the age. Their artists will also be the summit of the age, in verbal thought (Dovstoyevsky and Tolstoi during the realist age, the non-fiction writers of the revolution, Lenin and Trotsky in the baroque age; while Spain will give the great painter of the European baroque, Picasso.)
- In fiction writing there are many genders, as the system prefers fiction to non fiction. So there are many baroque masters. In individualistic, sensorial literature, Proust is the great master, in technical literature, concerned with form more than content (so loved in the goldiron cultures, because as music does, it has no power to create opinions) an specialist of the goldiron school, Joyce surface above the others. Those are however the lesser forms of fiction according to the ethics of man. Hence the most respected masters by the authorized canon of Universities.
Instead we prefer the masters of symbolic, social writing, Kafka, with his parables of our society, "The Castle", or "The Process', Orwell with "Animal Farm", and "1984", and Camus with "L'etranger", and "The Pest".
In the realm of social Utopia, the 'ought to be', a master above all, Herman Hesse, with his masterpiece of 'individual spirituality', "Steppenwolf", and a masterpiece of social spirituality "Dan Bean game". None of them would be recognized in life. Only after II World war, showed the rest of the world, the mass, and a few animetals, what is the natural end of the Industrial evolution: an ecosystem of top predator machines, a war inferno, they would become public and known to the mass.
Even Theater, the long dormant, dramatic, simple form of literary thought, so loved by the goldiron cultures of England and America, wakes up his dream, and it is able to transform itself into our basic novelistic genres:
- Social literature, with the work of Bertold Bretch.
- Reflection the paradox of History at individual level - the struggle between being human and not being as a part of society. It is the work of Ibsen, and Chekhov, that reaches with "Uncle Vania" the supreme parable of the defeated write, in front of so much bourgeoisie acceptance of the status quo, that ends defeating most writers of the age.
- Escapism to inner fantastic world, that show the corruption and absurdity of our real World: Absurd theater that peaks with Ionescu.
Of course there is a lot of other 'rhetoric literatures', not worth to mention - in fact the great mass of writings, specially in the Goldiron culture. Who cares? Their purpose is to distract, to degrade the quality of good literature. It is the most abundant, since the systems of mass reproduction of literature prefer it. Many of those works show a high technical quality. Who cares?. They say nothing. They distract the audience, and form with sports and other promoted activities, a smog screen to avoid people thinking on the real problems of our society. Obviously the British which also invented sports to distract the workers on free-Sunday days are the masters of this genre schools.
The -isms in painting are better known
Because we live in the age of spatial metal-communicators that repeat images. Because words have meaning and can provoke reactions in people. So it is preferred to show free painting that free words... They are far less relevant than the -isms of writing, specially in non-fiction writing, the -isms of socialism, and social laws.
What are those painting -isms?
Again we have to differentiate the forms of rhetoric art and metal art, and the forms of human art.
Among the first, many -isms today scorned as lesser forms, appear in the age, to praise the machine. Mondrian, a bad figurative painting decided to create geometrism. Marinetti, a bad Italian painter, creates 'futurism', which fascists imitate as a cult to the machine. Around the Bauhaus, appears the industrialism in design, which today reign supreme.
The non-rhetoric isms however are of more interest. They are unlike in the previous age, more concerned with the individual laws of creation of images, than the social world. After all bourgeois and the rich buy paintings and they hate to display poverty and suffering.
Still in South-America and Spain, the great warrior, baroque masters do not deny reality, and show that suffering in master pieces.
It is the blue period of Picasso, and the work of the Mexican muralists - that work big, to show the people and teach them, the nature of animetals and his oppression. Yet such art is dangerous. Picasso does not sell a single blue painting, and Ribera's mural for the Rockefeller center is destroyed, as soon as it social content becomes evident.
Equally innovative would be the posterism, the movement of social posters that abound during the Weimar, Spanish and Russian revolution...
Technically speaking though, as metal-minds keep evolving, art for the bourgeois and the rich collectors, tries the impossible: to overcome the incapacity of the human eye to see with the detail of the metal-eye. To that aim it goes a step beyond the expressionist system.
It is Cubism that applies the Relativity of space and time to painting: there are multiple possible points of view of space so we paint them using different perspectives. In the evolution of painting, once the mechanical eye= photography became more complex than the human eye, the European master, went very soon beyond science. Indeed, a work of Monet has more knowledge of the Universe that all the scientific inquire, because it understands the Relativity of perception, the nature of the Universe of man which is light, not the total Universe as science pretends. Something Mr. Galilee could not figure out, despite all his enhanced metal instruments (Galilean paradox). Yet visual art=painting as it is understood in Southern Social Europe - the sacred, highest form of human sensorial and hence Universal knowledge - did not stop in the realization that we saw the light Universe. As the evolution of the metal-eye continued into the simple space (film that added a temporal dimension), the highest eyes of men, those of the painters, went inwards, towards self-reflection. Once the human mass had been hypnotized by metal-eyes and did no longer wanted to look at reality with human eyes, the painter lost his social job, and felt free to follow the mind of Man... Soon they went for a radical proposal: the Universe is not even the light now alien to us, captured in more detail by the metal-eye, but the inner feelings and sensations of the artist. The painter could use the Universe of light from its own point of view to create other combinations, other virtual worlds, other parallel universes!
The painter with Van Gogh and Gaugin invents his own sensorial rules to comment on his states and emotions. The divergence with metal-eye evolution towards further realism became absolute. The artist had gone into his self.
Yet his self was in crisis, because the human world was dying. So he saw death of reality. The human reality was broken from that human point of view. Hence the pessimism of the great isms.
Picasso said, 'I paint human thoughts'. The metal-eye would paint the vision that machines have of man: a target for weapons.
The isms invented parallel Universes to that of light. Because there are many parallel universes. The TV is the monotonous message: destroy man.
There was though a final step to cross in the evolution of symbolic painting: to discover the game of the Universe, the morphology of energy and information (see First Chapter). The honor corresponded to a Russian.
Kandinsky came and said, the Universe is filled with points of view, cycles of blue intelligence, and lines of red energy; it is a sentient, organic Universe, even in his mathematical abstraction s.
The non-fiction word: communism fails to conquer the world
Meanwhile in the real world the socialist and communist movements freed many workers and many middle classes. The movement advanced in all countries. In Germany it was truly powerful, and close to France, it might had been able to liberate Germany from the dictatorship of money, returning Germany to the Word language, the language of man. In the outskirts of Warsaw, in the summer of 1921, the fate of mankind decided itself. If Poland had fallen to the red army, Germany would have fallen, and probably within years continental Europe would have become socialist under a free communist system, not still a dictatorship of weapons as it would become with Stalin. Trotsky a Jewish-Russian prophet, rebel of his civilization, converted first to Christianity then to socialism, would have become the Man of the Century, and maybe, maybe mankind would have controlled the Industrial evolution with rational thought, to the profit of man. Today hardly any book of history mentions the battle of Warsaw, when misunderstanding among the Russian Generals, destroyed perhaps the last chance of mankind to survival the Industrial Evolution. Because soon after the Russian revolution found tis limits and abandoned his quest for a World Government based in the world, a metal-communicator able to use the word for rhetoric purposes, for industrial propaganda appeared - Radio. And with radio the social word carried by individual speakers and press pamphlets, decayed, as droves of men, became hypnotized by the radio, which was controlled strictly by animetal castes - given their industrial nature that required huge investments. It was the age of fascism. The machine had counter-attacked the human word with his own weapons: words, emitted broadcast to thousands of people in simultaneity, with a power of reproduction that the small press of revolutionary could not match. The animetals had now the perfect weapon to destroy socialism, and they used it in depth, hiring the best radio-actors of the day, Mussolini, Hitler, Churchill, that once ore focused the masses who could have tilted to socialism, into the false, happy myths of animetals, 'nation', 'power', 'empire', 'Go(l)d', 'happiness', and the lower dramatic arts: music, theater, individualism... Mass-media had been born. The II Industrial Evolution started. Money pored in the stock-market for radios. RCA the radio leading company in America moved from 1 $ the share to 450 $ in the biggest speculative credit rush. With that free money animetals constructed within a few years a world wide system of radio receptors, that entered the homes of the entire middle class. Now the middle class as it did in the next age of metal-communicators (the TV age) would not rebel and participate in the mass movements of the streets, but just open the radio dial and hear music, or some fascist speech of an animetal poring his ideologies. Communists and socialists were banned from radio, and so, soon they found their people dwindling. The revolutionary movement lost momentum in Western Europe. And fascism came. It would end systematically with the -isms, both in non fiction and art. And prepare Europe for a II War of Extinction that definitely would destroy the European civilization, for ever... R.I.P. End of the Game. Long life to radio days, to the metal communicator, to mass media, to the renewed Goldiron civilization, to the extinction of the human soul.
This destruction of human art, of the -isms of all cultures, by metal-minds has 3 phases, which can be found not only in Europe, but in all other nations as the Metal-earth has expanded worldwide:
- Metal-ears (age of radio, or fascism)
- Metal-eyes (age of TV, or neofascism)
- Metal-brains (age of chips, internets, and robots, or age of extinction)
Let us then introduce the final destruction of human art by the metal-mind, with its first electronic horizon, the radio age, the age of the metal-ears, and fascism, which ended with the European baroque and socialism, the main of the isms, since socialism was non-fiction, social verbal thought, the natural evolution of human religions, that developed after I World War when for the first time in centuries the mass realized that machines were evil, and backed some revolutions against the usual castes of metal masters, scientists, traders and warriors. How those social revolutions of the 20s, backed by all the great artists of the age died away? The answer is simple: radio-actors, fascism, and money ended it. As 40 years latter, TVs and money would end the 60s revolution.
Degradation of painting. European culture preyed by technological art
Today the restricted quality of 'technological art', hides the fact that art was in Europe considered the higher form of human languages. And hence the highest expression of intelligence=complexity in man. Obvious concepts forgotten by the goldiron cultures of England in the XIX C. and America in the XX C. Since they rejected the true arrow of human evolution through our biological languages of perception, and chose external metal senses, digital languages, machines and science, as the 'progress' of man towards the future=death.
Metal masters though like to create masks of artistic nature over his dog eat dog philosophy of life, to 'clean' their image. So they capture past artistic cultures as vanity masks: Greek art was captured by Rome. Italian art entered decadence after the German, French and Iberian "Sacco di Rome". Yet only then Northern Europeans 'admired' and collected Renaissance painters. European art becomes today degraded by American software, as Americans flock into our Museums. In all those cases though the animetal culture will be unable to produce anything but a few artists of Human [not technological] creativity, beyond repetitions of the 'looted' culture. Since the essence of the artistic culture - the sacredness of art, human senses and ethics, cannot be imported. Today in America, the concept of human 'sacred' Art has become degraded in the hands of gallerists=Traders of art, and collectors who have successfully annihilated from the infectious focus of N.Y.C. and LA the concept of pure art, and the human ethics and aesthetics of social literature, painting and film-making. Instead the new philosophy of American Traders respect to art is: 'A single genius is a single sell''. And so 'all is art', all is relative, to increase sells and diminish the social function of awareness that the sacred true artist wants to perform.
The alibi of 'freedom in art' only hides the mercantilism of increasing the number of art products. Mr. Warhol can make many Campbell soups with a silk screen and his Jewish-American gallerist of the goldiron culture can gather a fortune with many sells. A Velazquez only painted a few dozens of works in his entire life, and that is a problem. Mr. Proust only wrote a book and that is a problem to make money out of him. So the Jewish-American Gallerist of the goldiron culture introduces the concept that all is art, freedom in art, easy provocation in art, abstract art without harmony, all materials are art, etc. to make a lot of money out of art. It has in fact degraded art back into crafts, and destroyed they higher informative, evolutionary, sacred purpose of art.
Now the true artist is buried by a ton of relativistic art, with a market price.
Now 'art' becomes a promoting word to jack up profits of industrial re=production of 'artistic' mass-media. Under such marketing cues, soon people buy trash-art and technological art. Since today people buy anything that the Company-mothers and his system of marketing, of lies, of propaganda sells under Say's law: "Offer determines demand".
When the war ended, and TV was invented, it added simultaneity to film making. Now each home put instead of a painting a TV. The metal-eye hypnotized human eye-minds, arresting his development in childhood status by the zillions, with the infiltrated radiation of TV-sets, in the place of old family altars and paintings.
Soon the new metal masters, the Americans, would regress to infantile art, Neo-Paleolithic techniques, and industrial reproduction. It was the beginning of technological art. Greece III Age had in image thought, ended the adventure of the human eye.
Even the simple rules of abstract harmony laid down by Kandinsky were forgotten, and when the Americans came into the simplest of all paintings, Abstract painting, they understood nothing, and thought abstraction s had no rules (it has the rules of organic geometry laid down in our first chapter), but were just stains. And stains they did. Though Pollock did grasp the lines of energy - the essential character of the Americans. He was the last painter.
Then painter became a product and Warhol made it into prints. The press had finally defeated painting. While the first computers learned the most simple rules of geometry... It was the beginning of technological art.
The European baroque had in image thought, ended the adventure of the human eye.
So the Human masters of Greece III Horizon [who knew the game of the behavioral Universe, and the forms of human canons], became extinct, without translation to the Art of America. And the culture of man, has moved backwards as metal communicators the essence of American art evolved forwards. Today metal communicators merely repeat for the search of profit, past forms of art, notably dramatic art of lower complexity and higher technological affinity. Of course minds who escaped the pressure of the Goldiron culture could still write some books of merit, such as Hesse did in his 'Glass bean game'. Yet increasingly modern books can no longer refer to the human reality, but to the 'once we were' humans [époque movies in which humans can show sophisticated feelings]. Yet, internet networks and TV software with the double limit of the medium (a spatial language) and the culture (a spatial culture) has limited ethic art to childish, dramatic individualist behavior, and animetal slavery to the goal of companies: To make all man consumers=testers + worker=reproducers of machines.
Now that the eye was dead, and all was televised, the brain would be dead soon. Cynics such as Mr. Capote or Mr. Isherwood commenting from the dead-brain society of California, said that actually it was all the way around. That we were immortal, because death was impossible in California, where all minds had deceased long ago. There, they went the two Greek III Age film-masters, Buñuel and Eisenstein, which in a feat of invention had molded the alien metal eye film medium to the will of man, inventing surrealist, symbolic, platonic film and social r=evolutionary, platonic film. But they could not mold the Baalist producer, and bought a ticket to Latin Mexico. Mr. Welles, local miracle of analogicism, who understood both, ended also buried in a Latin Tomb.
Artists of Human senses, are species today extinguished in America.
The few that are born in America or Europe become loners of their own silences, Hoppers, and Welles, Poes of suicide. Because unlike in European classic art, art in America is not sacred because man is not sacred. And so the artist is alone. The artist has no power to shape, to educate the people, as it had in classic Latinia. Education is metal education, and the clones of one Smith, one Galilee, one Einstein, one Darwin, and other species of Animetal thought are the genius that America borrowed from Europe to multiply in his technological labs and banks.
Today as always, true art which in America belongs mainly to 'Pariah' classes and outsiders of the system since the birth of Jazz, to the modern Black 'primitive' painters, has no monetary reference except when it is old enough to be harmless, or pretentious enough to be rhetoric. However art-collection allows Animetals a pretension of humanity, a legitimation, which, capitalist democracies and stockrats, will always search for, as a rhetoric mask for their own nature, to whom only one simplex thing matters: money. Traders in true form fear art, since their chemical perception is inhibited by the essence of his pricing Existence. For example they become disturbed by the best works of internal art [expressionism] which opens vectors of Existence, shut by its metal cultural education. They prefer realism, 57th street styles. And when being 'bold', they go for relatively conservative impressionist works, still the highest bids in the Gallerist circuit. Yet those exceptions of wealthy collectors, do not hide the total indifference of America for art, and his love of machines, the art of America, his weapons, the most beautiful objects of America, his metal-minds, the most intelligent species of America.
Today the wave of Californian death, his weapons and softwares, and digital minds, [75% of world production], extends worldwide erasing the final human eyes, soon to be blinded by Laser weapons, as the Metal eye finally wakes up. He, who will own the World, the Chip Pictus Homoctonos, I, Age, Terminator of man, has already appeared in virtual reality. Soon it will surface to the Wor[l]d, as a Top Predator. The peaceful version, Asimo walks up the stairs of museums, and it is shown as a form of 'art'. While in the town where Hitler was born, the 'most advanced artistic gathering of modern times' takes place, as the pamphlet says, dedicated to 'cybernetic art'.
Technological art: end of human thought, computer artists...
Further on since the medium is the message, and the quality of art, depends on the language and genre the artist uses, images that can only be dramatic in terms of logic, lower human comprehension. It is the essence of the neo-Paleolithic that now comes into full existence, with the total dominance of a language that preys in verbal languages, making them submissive to the image. We do not hear TVs, we look at them. So even if they seem to have words, they are no longer heard. In this manner literature not only disappears but within TVs it becomes noise. We wouldn't not read a violent script. It would look shit, but in TV we enjoy it because we do not really listen to it.
A pyramid which is exactly the opposite pyramid to the genres and media paid by our culture, who ignores Philosophy, religion and Poetry that shows the analogic, organic nature of the Universe, and the social nature of History, and spends fortunes in dramatic, TV-software, that devolves the human mind.
Virtual reality: the schizo Neo-paleolithic freak.
The History of control of man by its languages of metal communication and the goldiron inferior civilization is almost complete. Man is no longer in power to express life points of view, chemical points of view, survival points of view. All his drives of existence reduced to those of company-mothers (work and consume) are given to him through metal networks of money, weapons and marketing.
The final baroque.
It is the final baroque. All is fiction. All is possible. All is art. Even trash is art, specially if it can be multiplied and put a price. Yet art is not relativistic, it is the evolution of the human world-eye.
The dissolution of the American->Human culture under the new top predator language=digital thought, signifies the end of Human thought. What is worse it expands through metal mind satellites to the entire world. This Age is a generic baroque Age. Its end should be parallel to the end of all baroques: The extinction of America, the extinction of the civilization that gave birth to it.
The American baroque caused by metal-minds.
The term Baroque, as well as the terms Humanity, and America [a civilization, which is in races that not in culture, a small version of mankind], are the concepts we explore in depth in this book. America we said, is the baroque, 3rd age of the Dutch culture, of the culture of companies with human support. The next culture, the Metal-earth will not have human citizens, but robot citizens...
By baroque, or decadent, or extinctive phase of a cultural 'species' we mean, the last stage or 'old age' of a civilization. In the baroque age the culture enters in an explosion of negative energy, and rhetoric information, fiction, that multiplies useless messages which hide the simple truths of ethics and survival that guided the civilization in his apogee.
This cultural process is parallel to similar processes of decadence in all Universal species composed 'of cellular individuals' and regulated through organic systems that transfer energy and information to the 'cells'. When those systems [the word, money and weapons in a society] collapse by lack of harmony, the cellular organism enters a baroque stage and becomes extinct.
In the old age of a body, the corruption of the blood and nervous systems [energy and information system of the body] brings such a process. In ecosystems, also the collapse of the energy base, destroys the trophic pyramid. In a culture, the word - informative organ of man - and the monetary and military system, which regulates the production and distribution of goods, have to be healthy and just, in order to avoid its decadence.
When those systems break their harmony, we talk of the 3rd age of a culture, which lacks energy and has an excess of form [false in-form-ation]. In a man wrinkles and knowledge, bring death to the mind and body. A baroque culture collapses by lack of energy and excess of false form. The society dissolves its organic components. And the culture dies, often in a vortex of war.
This lack of cultural energy, tends to be in a Darwinian Universe caused by a new species which 'steals' the organic space of the old one. In civilizations we talk of new cultures which conquer old cultures, sinking them in baroque periods.
So the Hellenistic baroque period of the Greek civilization coincides with the Macedonian and Roman rule that ended the creativity of Classic Greece. The logic age becomes an age of multiple schools, and not a single truth. So as in the case of fiction genres, nobody believes anything and the language no longer guides the cells of the body. The Italian baroque period coincides with the Spanish and Protestant rule over Europe that emptied the creativity of Italy. The artist goes inwards and become inactive in society, ruled now by money, the new language in which everybody believes.
So today Americans kill for money, and care nothing for ideas, for verbal thought. This ideology makes of money the new informative mind of America, a mind that favors machines to which it is symbiotic and kills human goods...
Men become slaves of money and wor[l]ds enter chaos, dissolution, death, total freedom...
If you want to resurrect wor[l]ds, to give back power to wor[l]ds, money then pays ideologies against wor[l]ds and human minds. It tells you that not to be slave of money is not to be free, that to believe in your biological language is bad, is not 'democratic'. People believe such idiocies, since money repeats it all over and pays intellectuals to repeat it. We might say that the new language 'preys', and controls the old language, which expresses his lack of power in baroque art.
The Universe is not fun. It is a serious place where informative errors have a simple penalty: extinction. And the biggest error is to loose your sense of truth, your capacity to perceive reality. Then reality kills the blind species - man. It does so through war...
The fundamental game of the Universe, explained by Mr. Darwin and intimately known to all living species is clear: there are certain behaviors which are positive and necessary to survive. And there are certain behaviors which provoke the extinction of the species which act in that way. Among the positive behaviors we can mention the correct use of the two fundamental variables that we find in any ecosystem: energy or 'organic space' and information or 'temporal knowledge'.
Both variables are related to the essential variables of reality, space and time.
Species do have to take care of his organic space, and use his time to acquire information, and through the process of learning, obtain energy from his ecosystem.
Species which lack organic space, and misuse his time and information and do not understand the laws of god=the Universe become extinct.
For any species which aims to survive, it is necessary the caring and multiplication of the species' energy base - the organic ecosystem of the being. If a specie depletes his energy base, or ruins his ecosystem it dies. If it is unable to hunt, to obtain that energy it dies. So America dies, as it pollutes its organic space. Fiction hides that... You see then documentaries on extinguished species, cartoons on lion kings...
A second, fundamental behavior is a correct learning. It is essential the understanding of the information required to survive and hunt energy in that ecosystem.
Time is valuable. It cannot be wasted. Each species has an informative language. It is necessary that his members learn through that language the behaviors to have and the behaviors to avoid. Yet when you learn abstract equations you do not learn behavior. So Americans act with brutality in mathematical terms. They simply do not know what they are doing.
Another fundamental behavior to avoid is interfering with the territory of species more complex and powerful. A lion does not enter in Elephant's territory; a hyena respects the lion's organic space; a gazelle the Hyena's. This has been learned through genetic memory and parental teaching. Yet Americans make robots thinking robots will be nice to man, since they ignore the verbal laws of evolution and in mathematical terms robots are nice images.
If we apply those concepts to a wave of human individuals [a civilization] which display socially the same game that any other 'herd of cellular beings', it is clear that a human civilization has to take care of his organic space, his ecosystem; it has to maintain clean and healthy and abundant in human goods [agriculture, health care, education, housing, etc.] his society; and to do so it has to organize properly his systems of communication and distribution of goods [economy, ideologies and laws, and military systems of social order]. To achieve that a society has to use properly the time of his individuals. It has to teach them social behavior, the use of his ecosystem, and the memorial cycles that prevent the specie from entering forbidden territories. In the case of man, those 'forbidden territories', those species lethal to man, are weapons, or external cultures with better technology that might collapse the culture in the energetic plane; and rhetoric, useless information that confuses the behavior of people in the informative plane.
When the culture degrades those knowledges, it enters in decadence, in a baroque age, so well explained for Rome by Mr. Seneca or Mr. Gibbon; or for Israel by his classic prophets: the culture looses behavior, thinks life is just fun, multiplies useless information, and forgets the nature of the Game of Existence and Extinction. The elite becomes unable to control his borders and enemies, [internal and external]. Weapons multiply inside and outside his frontier; the production of human goods diminishes predated by the production of weapons, luxury goods and useless information; his security systems becomes loose, its warriors trust mercenary armies, leaving power potentially in the hands of species of other cultures, which sooner or latter rebel against his masters. The law is broken; and brute force and corruption becomes the basis of the civilization. People in power stop caring for the entire 'cellular organism' - the citizens of the culture. They become selfish, and arrogant, misusing money and weapons and words - the tools of power - for their own profit. The mass becomes impoverished, isolated, brewing rebellion.
Art lacks any confidence in the harmony of society, and forms multiply. Eclecticism, decadence, and an excess of rhetoric form inundates the culture. To avoid facing those problems the corrupt elite uses the word as a tool of rhetoric; entering in an endless search for pleasures. And finally the baroque culture collapses. There is either an internal revolution that throws the elite, a civil war, or an external aggression. The hyper abundance of weapons becomes used to kill the culture by the mercenary army. The culture dies and a new culture under a new elite of 'revengeful warriors' starts a new civilization.
It is the present situation of America. Yet the next warriors, and present case of that decadence are not human species, not certainly the faked enemies of America, the Neolithic people of Islam, and the peaceful Chinese, but the machines of America, the metal-minds that erase the minds of Americans, and the robotic weapons that will kill Americans, and torture them, thinking on Hellraiser nightmares, and violent video games.
What then would be the human baroque? A global process of extinction of human cultures, by a new, more powerful culture, this time not of human nature, but of metallic nature, of technological nature - the Metal Earth; where human warriors are becoming obsolete to automated systems of military defense, human words are becoming obsolete to digital languages of metallic nature, and human goods, are being under produced by a massive overproduction of machines alien to the carbolife nature of man.
We say that the Human baroque, is caused by the substitution of the Human informative language, the wor[l]d, by the Metalearth informative language, money, and the human mind, by different metal-minds, machines of information from computers to TVs. The Human baroque is a consequence of the evolution, and radiation of Go[l]d cultures, for whom property and Capital have more rights than mankind. And for whom human sensorial and social rituals are totally irrelevant, disposed off as mere ideologies of control and contention of animetals .
Shall we wonder then that gold cultures slaves of machines have made machines more powerful than themselves?
The rebels. The last artists of America
Not all people however are idiotic. Some realize that Companies are not that good. They not only give us 'good apples of the tree of science' but also give us bad apples: weapons, digital trash, and machines that destroy nature.
Not even science is that good: it also makes weapons, and throws A-bombs. It also kills nature. It does in fact work for Companies' welfare more than human welfare.
America however is still ruled by Companies, science and Darwinian thought. So those rebels are repressed...
What it has been broken in this baroque age, so close to extinction, as in all baroque ages, is the agreement of the society, between the leading Companies-Protestant-scientific culture, and perhaps up to 2/3rds of the mass of Americans.
The result of that duality in America, and the world al large that America has colonized with his culture, is a society in crisis. A deep crisis which deserves the title of this paragraph: The rebels of the Human Baroque. People become scared, radicals, cynics, depressed, pessimistic, freaks, mindless. It is the end of any organism, when his networks/information systems collapse. Each cell dies in a different way. The uniformity has disappeared. So the world is becoming a freak world, where the only cells replicated and organized in perfect numbers are the machines and computers of the Metal Earth.
We talk of the Human baroque as the last age of History, where property has more rights than man, where evolution is of metal, and devolution of human beings is growing, where the only men free to express such things, are as in all other baroques, the human verbal master, the prophet, the artist of human eye->wor[l]ds, who suffers extinction in a higher degree, because he is a social neuron, he is the informative organ, the essence as a being of mankind, of what is becoming extinct...
You can't understand if you are not a writer the mental pain I have suffered in the past decade, silenced by metal-communicators, isolated, suffering extinction of the entire body of history, shouting in the desert. Death, fighting that extinction will be a relief to my soul if finally I accept it and stop fighting it. Yet we are not dead yet, we can still fight the Metal-earth.
Unfortunately few people realize. They only see in that future, that America portrays the optimist fiction, the programs of metal-communicators. Not only Americans but the world see fiction as reality, and reality as fiction...
It is what we call the American dream, a dream, a fiction built to cover the true nature and ownership of America, the land of free company-mothers, where all has a price, where all men are 'products' of the system of reproduction of machines.
In that sense we have differentiated the American dream, and the American reality. The real culture of America, the culture of money, and the faked culture of America, based in myths, the American dream. Now we can consider how real art, not Television has shown that duality and suffered the American nightmare, in the 3 ages of American art....
Equalization with film.
Also the influence of the mass media with its emphasis on images has created a society of illiterate people who will not find any enjoyment in complex worlds and metaphors or poetic words. To speak good English is not anymore a social skill, so there is not a pragmatic need for learning elaborate English. So words that the readers doesn't understand are bothering and cumbersome. Language becomes simplify in all kind of literature that intends to find a real niche in the market.
In this manner script-writing and book-writing become similar.
A mass of best sellers.
All those facts can bring an easy differentiation among writers in two main groups.
The group of mass literature creators. The ones that are generally acknowledged as writers by the public. They have thanks to his selling success stolen from the real writers - now specialized on the small market of universities and connoisseurs - the name of their profession and their rewards.
They consider writing a mere technical craftsmanship and usually arrive from other fields, using literature only as a way of expression, jumping if necessary into television or magazines. They have a message to deliver, a democratic utilitarian purpose of global communication. In this sense for them literature is not art. So they consume manuals to learn how to write and don't go beyond Shakespeare and Aristotelian Poetics in his passion for rules of writing. The script-writers read the Syd Field manual on how to write a script. So all scripts look like if Mr. Syd had written them. Or now use 'dramatic' a software program
They make books like" "The psychology of happiness" "How to succeed in business" or "Prisoners of mars" or " The bold and the beautiful" or "An authorized biography of..."
The system rewards them with money. They are interviewed and live a kind of life it was only reserved in the past to the cultural dilettante. They get his esteem as writers from his wealth and status. They sign as writers, and they are eager to say so when asked. They love to sign their books on stores. They are essentially happy. They belong to the system.
Film the supreme American art, its 3 ages.
We illustrate the 3 ages of the American world dominant culture with 3 different films from the epic, classic and extinctive age of the sound film:
- 'Red River', a simple western, of the young age of film art.
- 'Double Indemnity', a realistic depiction of the new god of America, that values all reality in this country - money. Yet money values metal-species, such as weapons, more than any human good, including human life. So in a civilization in which all values are monetary values, society reproduces weapons in huge quantities.
So as the most expensive and profitable items of an economic system, reproduce, America enter the extinctive baroque age.
- America reproduces weapons in huge numbers, and weapons have to be used. So films show the increasing violence of the American society. It is the American baroque in which we live:
Old Age Of History: Age Of Machines And Numbers
II Cycle: Metal-Minds: XX C. The American Baroque
Russia [War dominant], European Union [Wor[l]d dominant], America [Money dominant]
Winner Civilization: Protestant-Scientific America
Youth=Energy Maturity Old Age=Information
I Age: 1914-40s:W.Ws. II Age: 1950-80s:Cold War. III Age: 1990-2020s:Computer Weapons
Visual Art: Films
Lineal, Simple Realism Extinctive
Red River, Hawks Double Indemnity, Wilder Terminator , Cameron
I Age: Epic, Simple II Age: Sensorial, Realist III Age: Baroque, Extinctive
Jim's eyes dart "Kane's empire, in its glory, held "It started early in the XXI C
everywhere will a dominion over newspapers, radios with the birth of A.I.
solution. An idea hatches. An empire upon an empire. a consciousness that spawned
He whips out his Colt which for fifty years flowed, in a race of machines. War
an unending stream, the wealth turned the face of our planet
of the earth" from green and blue to black and red"
"The Matrix is everywhere....
You can see it on your television
A prison for your mind.
Wild, wild west Citizen Kane The Matrix
In the graph, some texts and images of the 3 cycles of the spatial metal-mind, the dominant civilization, today a global civilization, built first in America, in which human beings and artists, ethic wor(l)ds and laws, have become secondary to the use of words in fiction form, as the number dominates all real institutions of our society, from democracy to science, from economics, to daily life.
The 3 generations of America are clearly shown through those films.
In our examples the American civilization of art based on Metal minds [radio, films, TVs] goes from 1928 to 2008, through a first lineal age of epic films of warrior nature [Western]; a trader-commercial age of classic film that explores human feelings [till the 70s]; and finally the present baroque, and violent age of trash-films and prophetic films terminator-style, which foresees the extinction of the American, now worldwide civilization.
The youth of epic Americans conquering with his animetal energy the world, is the age of Western and Black films, that borrow the aesthetics of German expressionism, and are concerned with the modern 'cow-boy' the gangster, are the main form of films in this age. The need to show movement and violence is already obvious. Both cow-boys and gangsters use weapons, kill people, destroy human lives.
The puritan black and white ideology is also the fundamental plot. The Indians, the human culture destroyed by animetal America is bad. The heroes are the genocide murderers. Yet because aesthetics are relative to ethics, it is still possible to create great films, within the limited Universe of fiction, in which films develop. It is in that sense interesting to notice the independence of the language from reality, and the capacity to change History of the new media. Americans, indeed will shape his historic consciousness in favor of animetals in those films, in which the good guy, the good history is caused by America. The shallowness of images, allows that simplification of history, cause of the absolute belief of Americans in the goldiron, animetal culture. Westerns ultimately mean the worshipping of weapons as the tool to resolve all problems. The best director of this unending stream of Good Vs Bad wrong morality is John Ford, which was intelligent enough to transcend that simple scheme and show histories within white people only, which have in this manner survived better the pass of time. His best film, though, the Stagecoach, is a copy of a famed Maupassant's short story: 'fat ball', translated from the Prussian-French war to the Indian wars. It shows again what is the natural system of good film-making: a good script. A fact easily forgotten by the hypnotism of images, in latter ages of film-making.
The other two genres of this age of film-making have also an underlying ideology: the Mafiosi film show the catholic immigrants, as murderers, brutal Italian people, without remorse, in their pursuit of money - the second goal of the American animetal civlization.
Confronting them the high comedy shows the good people, the Goldiron Germanic-Jewish Americans, with all the refinement and good consciousness, of the correct Protestant-Jewish morality, of well-deserved money, earned in Wall Street and machine speculation. Again a social-catholic group is stigmatized - as it will be latter the Latin-catholic immigrants converted systematically in drug-dealers, during the baroque age of American film.
Howard Hawks and George Cuckor, become the master of this film genre, a subtle, gay man with a feminine strike, and a professional adventurer and liar, which show however enormous technique, beyond any ethical sense, and become the perfect propaganda vehicles for the upper classes, in what might be regarded as the most complex film-making in this age.
As the Americans awash in money realize of his World role as super power, and I world war starts, it comes the age of mature film-making. Orson Welles shows in "Citizen Kane' that he has assimilated all the elements of the language, developed in Europe in the age of mute film. Americans have also matured as the second generation of top predator worldwide Americans take power.
"Citizen Kane' becomes in that sense the emblematic film of this age. We explained its multiple levels and paradigmatic importance. It is the film that confronts the master of the age of Film and radio against the master of the age of press (hence degrading the owner of that press age successfully). It is the film that opens the realist age, with a documentary technique, that imports all the findings of European film making. It is a parable of the American animetal, the man who worships money and forgets his human will, till it finally becomes a lonely collector of human art he does not understand. "The American" original title of the script is still the best description of the animetal American, the ruling force of that civilization. Yet "Kane" is a masterpiece, because Welles knows the ethics of man, and so it takes the side of man, without forgetting the aesthetics of the medium. It finally is the emblematic film of the fight of human artists against animetal producers, that have controlled and biased against man the information of America. The prosecution and black-listing of Welles, the best director ever born in that country, shows the real soul of the American ruling castes, that would latter back McCarthyism, Reaganism, and the extinction of all human hopes of survival to the machine.
The school that Welles started though will not have followers, as he was ostracized from Hollywood. He had said of them, "they are only accountants'. But accountants rule the world.
So Hollywood followed with his genre movies, that forbid documentary, social films, individual parables like "Kane" or any film that resembles reality and teaches reality to the Americans. Instead, if created a series of genres that always subvert at the end the parable of the film - in the few cases there is such parable - with an optimist final.
Now those genres entered his realistic age, since Kane had left his formal advances - not his spiritual messages - in the Heads of lesser directors.
John Huston, an Irish man who had gone earlier to Mexico to see the R=evolution by his own eyes, renewed the gangster genre, with "The Maltese Falcon", bringing up one of the few stars, wroth that name, the underdog, complex Humphrey Bogart.
He would also give his face to a film that renewed the adventure romance, "Casablanca" by European Emigrant Michael Curtiz. A series of good technical directors, mostly European immigrants will keep on doing good films, with poor messages, so well packed that made us belief the morality of the animetal, as supreme morality. The case of "Casablanca' is quintessential: the good man, Victor Laszlo, the idealist, is a moron, the American, the pragmatist, without social concerns, is the hero. We quoted it here, however because the hero redeems itself at the end. Indeed, it rejects the good life, the essence of the American pursuit of happiness, abandons the woman to the hands of Laszlo, and himself becomes a freedom fighter, starting an 'inseparable firenship' with himself and the French...
Yet those elements that we find in Kane or Casablanca, or The Maltese Falcon, the ethics of the hero, or the anti-ethics of the animetal, are exceptional cases, in what is the basic plot of Hollywood - a transvestite morality based in money and weapons, that plagues most of Hollywood films.
In the realist mature age, however many individual works stand out from that mediocrity and general ethic evilness, to become masterpieces, as individual directors show in a mild way the human side. All of them struggle against the producers, but as human audiences flock to their films, a mild level of open heroism appears in all genres.
So Elia Kazan takes in "On the waterfront' those premises further creating a social gangster movies (though of course the bad guys are still Italians, and a Trade Union!, probably the only Trade Union that goes against workers in all America).
That duality of the message is natural to Hollywood in this classic age. It is of course imposed by the system. The famous list of the 10 'communist' of Hollywood, would take care of the direct, social message. Indeed, in that list the best script-writer of Hollywood in that age, Mr. Dalton Trumbo, appeared. He made the master piece of American anti-war films, ""Jhonny got his rifle", in which unlike all other films on war, we show the outcome of war, the paralyzed, maimed human being, consumed by the top predator machine. Another fundamental author of this age, Robert Rossen, who had filmed that little master-piece, of realist film-making, "The Hustler", went under. Mr. Kazan would talk all what was needed...
Duality with a crooked message thus became the authorized form to express human ideals.
Meanwhile money went to the classic genres of Infantilism, that made Walt Disney a millionaire, Gangsters, Detective and police stories, to reinforce the obeisance to the metal-law, comedy, long past his Youth age, and adventure, which diversified in all kind of kitsch, from Maria Montez to Rita Hayworth.
The loner masters, Welles, the best director, and Trumbo, the best script-writer were 'out of the picture'.
We have thus highlighted of the people that could work with the censorship, of this age, Billy Wilder, which being Jewish, and a master of a lesser genre, the comedy could make good film making, without being thrown out of the Velvet Carpet. He and John Huston, whose magnificent personality let him stay in the game, are the masters of this age in the two genres, comedy and adventure that could be filmed, once the great genres, social parables and documentary (epitomized by Kane) were forbidden. When the 10 were judged, and a caravan to Washington was formed to protest, they were there. When the Director's guild put up a motion against McCarthyism, only two hands raised. Guess which. Wilder and Huston. Because true artists, do have also true ethics. And that shows in Billy Wilder's films, and Huston. Even in the lesser permitted genres they filmed, even within the limits of their All-American culture, 'Sunset Boulevard", or 'Moulin Rouge', "The Man who wanted to be a king', or 'The Apartment', 'The dead', 'The quiet man' or 'Double indemnity' are honest films that draw an accurate picture of the human kind.
A third man, outside and inside the system, a surprising character, Mr. Sam Fuller, did also open with very low budgets, the reality of America, in parables such as "Shock corridor' in which the quintessential self-made man fights for justice, and finds the system blowing his mind and putting him in a madhouse... "Underground USA" and other similar films showed that naked realism, which more expensive films could not.
Meanwhile of course the mass of B-movies, exploitation movies, war movies, nationalistic movies, re-runs of old comedies, adventure movies, police movies, detective movies, and all the harmless, system-positive films inundated the screens, making us all nice and good believers in the American nightmare.
Outside the Industry Mr. Welles continued his trajectory. His mastership was such that even when acting, he could convince the director to make a masterpiece Orson's style. Such was the result in Carol Reed's "Third man', shot as if Orson were behind the camera, and Heston's "Touch of Evil", shot as if Orson was the main character. Orson Welles though had evolved. He had gone beyond his realist style into his own baroque, isolated and demonized, prosecuted as a communist by the CIA, he had lost his conviction that men could be saved. Men are evil, and twisted, and now what can we do? When as Picasso said to his son "all what they tell you to believe is a lie". While the mass, those little points seen from the top of the wheel of fortune... believes it. So why to fight for the mass? That disturbing message left by the "Third man" in the ruined Europe, shows the grinding power of the Animetal American culture, that had destroyed his best XX century artist, hidden for ever since in the adaptation of Shakesperean theater. Where men were still heroes, and fought for the ethics of mankind...
The zenith of film-making: neo-realism, cinema verite, the 60s.
Then it came the sixties revolution and the mature age of film-making came to his zenith. Again thanks to the influence of European films, which showed from France and Italy, from the social-catholic European culture, a series of masterpieces of neo-realism and cinema-verite
In those films we find the premises of sacred, social art. The Italians and the French belonged to the correct Human culture, and so his environment showed humanism. They had not to force their characters, beyond the canonical changes needed to make the individuals, role models of the entire humanity.
This was achieved by Italy, center of the European wor(l)d culture, that now could merge the ideals of the ethic Christian, and the beautiful aesthetics of the Italian art.
"Roma citta Operta" opens this age of great Italian film-making, the zenith of film as a form of art. A series of authors, Rossellini, De Sica, Antonioni, Fellini, Visconti, Passolini and finally a second generation with Bertolucci, Rissi and Scola, surrounded by master cameramen, like Aldo and his disciple Stottaro... in a society basically free in his human will, and complex in verbal evolution, showed a fresco of all human groups, with an emphasis on the human parable, and the improvement of the human condition.
Films moved in an open interval from the pure, epic realism of that first film and the works of Rosellini and Passolini, to the stylish works of Visconti and Fellini of lesser content and higher aesthetics, to the intermediate work of Antonioni exploring the inner angst of the existential age, and De Sica, giving a Christian magic tone to his works. The unending stream of masterpieces make of this age of film-making the zenith of the art: "Miracle in Milan", "La dolce Vita", "La Strada", "L'escapada", "The Inconformist', "The scent of a woman", "Last Tango in Paris", etc.
The silver age of Italian art, only inferior to that magnificent renaissance, in the baroque of Christian Europe, had an enormous influence in the film making of all other nations. In Japan we can see his subtle adaptation in the earlier works of Kurosawa, and the late Ozu, which reached its zenith in "Izuru", 'To die', perhaps the best film made on the process of dying from an ethical point of view: a man confronted to dead, decides to spend his latter days helping a community to build a park, despite the total indifference of the bureaucratic state.
Each nation from India (Ray's films) to Spain (Saura and Bardem) to England (Free cinema) to Sweden (Bergman), to France, would adapt neo-realism to the description of their people. Some would show characters uglier than others depending on their culture. So the British as well as Bergman would describe the Germanic repressions as no other film-makers have done, and Bergman will parallel with 'Wild strawberries' the mastery of Izuru in the analysis of death, now from the selfish inner ego.
France though, the other free nation of Social-Europe (Spain was then under a fascist military dictatorship), will be the country that will be able to explore further the freedom of film making, with an emphasis in the individual and the sensorial pleasure.
In that sense we can observe now in film the duality of the two master genres of literature mentioned in the previous chapter:
- Social, sacred, ethic film making: Italy.
- Sensorial, Individual film making: France.
It is the nouvelle Vague, in which Trufeaut, with his humanism, stands above other remarkable efforts of renovating the film genre (Goddard, Bresson, Resnais, Malle). Trufeaut is the realist that describes human nature, while the other directors try to translate the findings of the earlier -isms to films. But the great works are those which use a simple, fluid description of the human sensorial search for love, pleasure and social company: "Breathless", "400 blows", "Hiroshima, Mon Amour", liberate the human Victorian repressed spirit that lingered in all cultures influenced by the dominant Goldiron Jewish-American culture of the 50s.
They will be imitated by all other cultures, producing some masterpieces such as "Aino Corrida" ("The empire of the senses"), in Japan, and "Last tango" from Bertolucci, shot in... Paris.
The Americans took notice and adapted that work to their nation, renovating film. It all started with a stylish gangster movie, "Bonnie and Clyde" that exported what it was easier to export, the free handling of cameras outside studios. Yet as the 60s revolution peaked, some film makers were free to make their own revision of American history and the Indian Genocide (blue Soldier, Little big man, A man called horse). It is an age intersected by small mater pieces, by many directors that showed how in a free society art could have thrilled even using the metal-eye anti-human media. Love was now the theme. Love even filled the West in "Butch and Cassidy", Love filled the bourgeois mother in "The Graduate", love filled the gangsters in the mentioned "Bonnie and Clyde", love 'filled' the past New Englanders in "The Great Gastby", love filled the homeless in "Midnight Cow-boy". "Love was all and all what we need was love." The word also talked of love in his songs that we will study in the next paragraph.
But love was not what the American animetal society had in perspective. They were still busy hating mankind, in Vietnam to spend weapons, in the Golan Heights, to colonize the primitive settlements of the Bronze age, in search of his animetal roots. Love was transmuted into hate, and the killings started. Since animetals could not be human, could not forgive his cycles of hate, between traders and warriors, could not forgive the Holocaust, could not forgive the Blacks for being more human than they were, could not forgive their children for wanting a better life, than they had lived, they killed them all, Kennedy brothers, Luther, and Malcolm, 3 million Vietnamese, the Palestinians, the Blacks that rebelled, and then they put the McCarthyism inventor, Mr. Nixon, and the traitor against 'communist Hollywood' Mr. Reagan, to clean them all. It was the end of r=evolution. Weapons and technological machines, chips, would now rule supreme.
America entered his baroque-baroque, his extinctive age. And film soon followed.
The baroque age of film making.
As the people was repressed in the streets, so were films in the screen. To that aim all the elements of rhetoric mentioned above were used. Mainly visual rhetoric of movement-violence, and technological rhetoric of special effects.
The concept was to minimize words and plots, to maximize images, and to choose all the old genres again. Those directors who could adapt now to "hate" the new name of the game, that could show weapons, that could despise human beings, would become the heroes.
So the best adapted to keep filming. Mr. Scorsese moved from love-film making "Alice does not live here anymore" to hate-film making "Taxi Driver". So did Coppola, from "Rain man" and "The Conversation" to "The Goldfather" and Apocalypse now". Those were though the Italian-Americans, who had at least the aesthetics they learnt from neo-realism, and cinema verite. The bulk of film makers had merely heard the new conservative concept of violence and hate. And so they just made all kind of violent films with no respect for the plot, the audience, the veracity, and the rewriting of History in favor of the empty animetal dreams. Once the film was done, just repeat it, as a bad hamburger with poisoned food.
So it came the Stallone series, "Rocky' and "Rambo', the "Batman series" which further distorted the human spirit, the prophetic "Terminator series', where however miraculously to cheat the future, man survived the robotic weapon, the "gangster" series of Mr. Scorsese, and the war movies still being produced such as "Pearl harbor", and of course the "Holocaust" series, films to make the revolutionary good Jewish, revengeful, hateful of all mankind. Films in which only the final cruelty was shown, but not the real problem of Holocaust, the making of wars, by war companies, financial speculators, and ideologies of war, exactly equal to those that now Hollywood was instilling in the minds of the Americans.
Problem is that the Hitler and company are dead. The other element that caused the II World war, were the financial Jewish-Germans. Now they are the Jewish-Americans that promote the violent conversion of mankind into neo-Paleolithic men, for the sake of cinematic profits. And yet, not a single film on the Holocaust showed the entire process of degradation of Germany by his industries of weapons and mass-media rhetoric, since those industries had been exported to America. It was the Hitlerian myth. Hitler not the system was guilty...
In this manner hate spread all over America, re-educating the next generation, that no longer as the flower boys could love, but now could hate. So Mr. Marlon Brando's son hated so much that killed the boy-friend of his sister. A parable of the change of generations... and the effect the new hate deal had on our children.
The process continues now in the final baroque films coming from America, re-running, repetition of old hate games, with a lot of technology and not a single good line.
The other genre that it will be promoted and now has become the most watched of all America, is the pro-technological film of science fiction, to use better computers and improve and evolve the metal-mind.
As the metal-mind has evolved further it is now the supreme genre in America. The master of this genre, of course is Mr. Spielberg, a Jewish-American obsessed by hate, that only makes good films when leaving his factory of special effects. treating the holocaust, in "Schlinder's List", and "Sloath', the recording of all the hate of all the survivors, that neither forgive, not remember the causes of those holocausts, as their animetal culture leads mankind to a new holocaust. Mr. Spielberg helps with his robotic films (Dinosaur robots, Artificial Intelligence, and Actors robots). They seem to forget that the old nazis are all dead, as well as the people, the banker-priests of Germany that paid for them. So they are now creating the Holocaust nazis of the future, the robots. Will they when mankind is extinguished by those robots, and nazi-Americans they help to create with violent movies, also hate from our collective tombs, the robots now they so much like?
The ages of TV.
We have studied the ages of TV, in the previous chapter.
The Spatial-visual American civilization, has again 3 clear ages studied in the next chapter:
- Youth: 1960s-70s. (or TV-age) which makes some reality films imitating the realist age of film -making (Serling being the best of them, that also starts with "twilight zone" sci-fi TV).
- Mature age: 1973-1990 (or Chip age), in which evil becomes now dominant, with series like Dallas, and sci-fiction series. Both make the reversal of form from Serling. Now Sci-fi is optimist about computers, the backbone of the Industry, and series do not try to create positive role models, but negative evil people, such as JR. which gets it all with money and weapons.
- Baroque: 1990, 2020(or internet age, with World-stock as the global government)
Violence is now the centerpiece of TV. 70% of children cartoons are violent. While deactivating, non-verbal systems of images (MTV) plunders into the brains of the youngsters, with baroque, techno-computerized music.
Electronic metal-communicators. Television. The net: Matrix
As metal-communicators evolve, their rhetoric convinces people in greater numbers. Today, the substitution of our human virtual reality (our perception of the universe through eyes and words) by the digital virtual reality of new metal-eyes (TVs, mass-media) is very advanced. Our youngsters believe more in Television propaganda than in Human truths. They prefer to see "the virtual lion king" that the real lion jungle.
Further on, since the huge costs involved in its software reproduction are assumed by company-mothers, for whom men have lesser rights than machines, metal-communicators are used systematically to eliminate social ideals. It is all over again. The New Luther was called Hitler... in the age of Radio. Radio was used by Hitler, Mussolini and their Companies of weapons (that paid their bills) to eliminate socialism and provoke a profitable war. Again 40 years later the new metal communicator, TV-thought was used by American GOP hired Politicos and their bosses, Wall Street companies, to deviate the 68 revolution. The revolution was televised. Then Reagan, an actor, took power, and Bush brought televised fun wars, like a video-game.
Today the American mass do not perceive reality but TV ideologies. For them, enemies are not individuals, but all those people and ecological cultures that TV decides: Arab terrorists, Chinese communists, and the like. People are tagged in this way with words that dehumanize them. People become evil images on the screen, like those video game images that you can shoot at distance. Americans are totally indoctrinated by mass-media, as Germans were by Hitler or Luther. Again, as in the case of the age of Religious wars, the very low level of social evolution, and verbal development in the American culture, controlled by scientific myths and gold religions, explains why the American people, have accepted so easily such simplification of their human ethics, while the Social European, still resists... The same rhetoric of radio-fascism applies today in America, in what we might call, neo-fascism, or TV-fascism, against the poor and the immigrants, accused of the economical and labor problems of the middle class, displaced by new technologies. Television also hides the speculation of Wall Street in weapons and technology that limits credit for education, health care and human goods. Paradoxically many Jewish people, sons of those who suffered Hitlerian rhetoric, are today applying the same rhetoric against African and Native-Americans (Mexicans), from their top predator Animetal position, in control of Wall Street, American Mass-Media and the Law (±75% of legal firms, TV-producers and Stock-firms). They are teaching Americans to become violent, with warrior ideologies that history proves might easily turn against them.
Televisions show a deformed, negative vision of man, because their ideas are the ideas of company-mothers, not of verbal ethics. Company-mothers think men are only workers, consumers, or targets for their war machines. So today most men become under so much Television propaganda either workers, consumers or targets for weapons. In each phase of their evolution, Metal minds also increased their speed of communication in a geometrical scale. In each phase humanity suffers the opposite trend: more human Minds are hypnotized and obey metal-communicators. The number of human minds hypnotized by Metal-communicators grows. As a result, the capacity of the human mass to understand reality in human terms dwindles. Now we see 6 hours a day of TV-virtual reality, which is fun, and makes us to forget the survival laws of the Universe, spelt by verbal Gods.
The most important information man has to develop in a society is ethic verbal information. Unfortunately this comes through speeches, and books, not through TVs, and internet, which on average deliver 1/5 of the quantity of words per minute, a man reading a book delivers. An entire news program is equivalent in verbal information to a broad sheet of a news paper. Besides you cannot choose what you read in a TV set. They give it to you without freedom of choice. The fundamental elements of ideological indoctrination: minimal information, selected information, information accompanied by visual rhetoric, are at work there. You are not informed, you become "programmed" to believe what the persons who choose TV information want you to believe. There is always a company-mother with vested interests behind. With news papers you could at least choose your news paper, and choose the news, even contrast them, read them back to see "the mechanisms" that newspapers use to bias news (such as forefront impact images, and Headlights contradicted in the small printing; omission of data, one single point of view, etc.). Yet since now we only see TVs, and computer screens, it happens then that being your time limited, when we dedicate too much time to inform our selves with mathematics, and images, we loose verbal content, and real information and we become much more ignorant.
Studies show that since TVs and other information machines came, we have lost 20% of our verbal information. Our children are clearly more ignorant than or parents were. They also commit much more wrong actions, that destroy their lives and the society in which we live, because with a bad verbal mind, they are unable to judge correctly and behave correctly. The example is one of the many examples we could give of the lethal consequences of dedicating our life to other species which are not us. Our children are also very fat, because they use cars to move. Yet moves improve, and mathematics and computers become better. The servant, man, becomes degenerated, and the master, the machine improves geometrically.
In this manner Metal-communicators are dwindling the capacity of man to react to extinction. Man looses contact with the fundamental concepts and truths of "Verbal science", and the behavioral laws of the Universe. He acquires a great deal of rhetorical, digital information of null value.
Today the advances of love religions
and theory of evolution regarding the survival of human societies is
ignored, and substituted by rhetoric in favor of machines, weapons and money,
promoted through TVs and advertising, paid by company mothers. So humans
do not realize of their advanced process
of extinction. Words of survival and ethic behavior disappears. books and
literature disappear. The mind of man disappears. While universe of wireless
data and images understood only by machines, perceived only by machines, grows.
It is Matrix... the brain of the Metal-earth, in which all communicators,
radio, press,, and internet, merge. It is the age of multinational companies
of mass-media, all delivering the same messages in favor of machines, work and
consume, through all the outlets of expression of mankind, while the truths
of human survival are ignored, repressed, never distributed. It is the age of
fiction, of a fantasy about reality, about history and the future,
which hides all negative aspects of the Industrial
The eye of metal: natural born killers
Besides controlling human information, metal-communicators have a second role. They are the components of a metal-Head, the eyes, and ears of metalife. A mobile is a metal-ear, a camera, a metal-eye. They will play that role in futurerobotic life. When Metal minds awake in robots, there will be brains that will want to imitate those violent films, and cut us into pieces. There will be machines that will enjoy "recreating" their imagination, massacring children, as video-games do.
The biggest danger of TV and video violence is not what they do to our children, that become violent, but what they will teach to machines. Computers think in digital images, so they will consider those images their imagination. All species act according to their memories, their imagination, their linguistic perception of reality. So sentient machines will enact their TV-memories into reality.
As you want to make real what you imagine, and find such creative acts the summit of your existence (even if you have to kill trees to carve sculptures, and kill animals to make gourmet dishes), sentient machines will want to convert their available imagination, the wealth of brutal images, the nightmares that mass-media produced, into reality.
A camera functions as a Human eye. A TV is an inverted retina, whose images are not taken directly from the light, but elaborated by humans into a mind, a Virtual World. A camera has to be understood as a sophisticated eye organ, that perceives better space with images, than we humans do, since its range spreads from the microcosmic to the macrocosmic universe (microscopes, telescopes). Yet a mind is not a camera. A mind is a "temporal valuation" of the spatial reality, the eye shows. Those "values" are given to metal-minds with Hollywood software, and video-games that explore the higher capacity for movement and hence for violence of digital images. Men are teaching futuremachines how to kill men. They are creating a bank of memories, that will make of the first machines connected to matrix, watching films, terminators, nazi-like criminals, with thirst for human blood. They will merely imitate, courtesy of our artists, the images and roles of-heroes.
In the future, when those virtual minds are more evolved, and symbiotic to chips and bodies of machines, the memories of Hollywood will become the minds of robots. Those ideologies will become the behavioral mind of robots. Robots will behave and think, and use the visual memories and ideas of mass-media, as humans behave and think with the verbal ideas of their social cultures. Watching the primitive version of that mind -the TV programs of today- we can foresee what will be the soul and morals of metalife: by observing the virtual mind of TVs that company-mothers are designing, we can foresee the futurememories and ideas of robots. In essence, those ideas are the ideas and myths of animetals, that are teaching their "offspring" of machines, to behave with the same brutality they behave with nature. The metal-mind indeed is a predator mind on the making.
TVs show a special virtual world with certain subjective ideas and information about the Earth, ideologies that in general follow the degrading opinions about mankind that company-mothers and the elites of Animetals that own them, have. We won't enter into the analysis of the present self-reflectivity (consciousness) of a metal-eye. It is just a question of time, of evolution and complexity that such consciousness arises. Today the metal-Head is still deconstructed (mobiles, cameras and chips are not yet put into robots systematically). It has not yet a brain behind, at least in the simplest models of cameras (not so in the new generations chipped internally at all levels). So the metal-Head is not still conscious. The consciousness of its message are still given by mass-media artists and their company-mothers. What are those goals?
To answer that fundamental question you only need to know a, and how it deals with human beings. In TVs, humans are targets of movement. The concept is always the same, driven by the thirst for more energy and more information, of digital images: a man is running, and it becomes red, the color of energy. It becomes killed. The intuitive intelligence of computers when they see, shows in that image, as in any other eye, which is by essence a top predator that likes movement and red colors: the movements of the victims and their blood-energy. Those will be the goals of metal-Heads in the future: to provoke movement and red colors.
Often in universities, researchers don't need to program robots. Neural robots love movement and red colors. Yet how can you get a man to become movement and red color, so he pleases our robots? Think of a peaceful demonstration. It is boring. Now put a line of policemen is ready to shoot. Make them fire their weapons. Suddenly everyone is running. The wounded and dead show the red colors of blood. Killing people indeed, makes the trick. We won't need to reinforce the program of killing in robots. Once they try, they will love it, like all living species of the Universe. They will be natural born killers. It is the Law of the Universal Jungle. Our robots will be also part of that Universe.