INTRODUCTION. THE NEO-PALEOLITHIC, 3RD AGE OF HUMAN ART.
The overproduction of mass-media kills the mind of mankind, in the same manner the overproduction of robotic weapons kill our bodies. Yet as all phenomena related to ‘invisible information’ most people do not realize both processes are equally destructive. It is the violent neopaelolithic in which we live, the key to interpret the neofascist and neocolonial attitudes of our countries and the tv-hate parallel to the radio-hate phenomena of the last crisis. Thus in this section of the zeitgeist of the age we study the neo-fascist, neo-colonial and mentally degenerated tendencies of our age, the ‘neo-paleolithic’, when visual thought regresses man beyond the logic height of our age of verbal thought.
IN THE GRAPH, AS MACHINES EVOLVE THEIR MINDS, by the paradox of History,
Max. Technological Evolution = Min. Human Evolution, in the same manner weapons kill our bodies and energetic machines atrophy them, informative machines atrophy our mind and make us hate our neighbor, becoming neo-paleolithic, homo bacteria, with a simple visual, emotional mind and so we regress to a lower state of consciousness from the complex dual logic of this blog and even lower than the previous simple lineal logic of rational thought:
To introduce this theme, the age of neofascist art, you should first understand at least the basis of the cycles of art, as we are going to talk in this section of the 3rd cycle of audiovisual media, the age of hate speeches, ‘baroque films’, of evilwood and neofascism that we forecast 20 years ago in our exhibits on art ages at six flags brooklyn museum, Columbia u. etc.
Thus we copycat the articles on art ages for the ‘wider, historic view’ of biohistory and its cycles. YOu can consider as the fractal universe works that you will descend from the wider view – Art as the subconscious collective of mankind, and reflection of the mental ages of the superorganisms of history, into the lower view, American art, into it 3 ages, the epic, classic and baroque age, into an specific art, film, in its baroque age, evilwood.
“The mind of nations and civilizations, organisms of history, is their culture. As such it goes through 3 ages that last the life of the nation or civilization and are self-similar to the ages of our individual lives:an epic, lineal, energetic young age of dramatic art, when the civilization or nation discovers a new weapon=machines and becomes the top predator culture of the world; a realistic, classic age of maturity, when it establishes itself in the top of the world and its ideas are reproduced and admired by all other cultures, and a 3rd, old age of excessive in form-ation, angst and extinction, when the overproduction of those weapons brings a Times of Death and Massive Warfare.”
The ages of organisms. The 3 ages of species
Once the duality energy-body, brain-information of all Universal organismshas been established by biological sciences, expanded to all Univesal beings , the existence of 3 ages, energy-youth, maturity-balance, and old age, or information age in Universal organisms can be easily deduced by the fact, that the organism is ruled by the head of information.
Since the head of information constantly controls and uses the body to absorb energy, it is natural to find, that when the organism starts its life, it has more energy. He is young.
But as the organism lives, the selfish brain absorbs that energy, and trans-forms it into form, into in-form-nation. So energy diminishes and information grows. For example. You feed on energy and you trans-form energy into your cellular information. Neurons feed on the body system without giving back any energy at all.
Son information accumulates in cycles and forms, in pattern and wrinkles.
And at a certain stage, the energy and the information of the being are in balance. That is the age of maturity.
But information keeps accumulating till the being has hardly any energy left to trans-form. He is all form, information. He is in the third age. Finally without energy the organism collapses and dies.
This simple explanation of why there are 3 ages in all beings is validated by the fact, that all organisms develop 3 networks.
– The energy network [i.e.: your blood system, the weapon system of economic nations]
– The information network [your nervous system, the metal-mind networks of economic nations].
– And the balanced, reproductive network [your endocrine system of hormones, and sexual organs, the monetary and reproductive system ofcompany-mothers of machines in economic nations.
So as the being lives, the predominance of information over energy, displaces the center of the organism, from the network of energy to the reproductive network, to the information network.
And we perceive that phenomena externally as the 3 ages of the being, that becomes older, informed, corrugated.
So happens in organisms of history that go through a first age of military, energetic governments; then goes through a second age of balance, and monetary power, to end in a third age of excess of information, and flourishing of baroque, formal art, prior to the collapse of the civilization [see part 4: an exhibition on the ages of art, and the life and death of civilizations].
Let us consider some examples of those 3 ages in basic organisms of the Universe.
What it matter most to us, in this book on a bio-logical analysis of art history is the form of each of those ages. We know such form instinctively because energy is spatial, physical, and information is formal, cyclical, like the cycles of a clock or a computer, or the complex forms of a chip or a book.
So each age participates of those morphological characters.
For example, young people are full of energy. They are in the Energy horizon of the species. They are bigger, have little temporal knowledge. They are simple in form. While Old people are full of information. They are in the information horizon of the species. They are smaller, have a lot of temporal knowledge. They move little, and have a lot of wrinkles.
Finally mature people, have such perfection and balance between the two elements of the organic universe, between its content of energy-space, and temporal information, that they can reproduce the entire being, in all its components. Hence the second age is the age of reproduction. Its forms are ‘wave’ forms, realist forms, combination of lines and cycles, the more complex forms, the most efficient forms. So in all species the mature, realistic, classic age of balance, or reproductive age, is the most perfect age. And human beings intuitively see that. We like spiral galaxies, mature people, realist art, which is called classic art…
In this manner the 3 elements of organisms, its energy-bodies, its information-brains and its reproductive organs, carry the species through 3 ages of existence, the energy, reproductive, and the informative age… Such is the wisdom of the bio-logic laws of God=The Universe… of which the forms of human historic organisms and art, are just a mere part.
This parallelism of shape in the existence of all forms, is natural to the very essence of what species are: Organisms of energy-space and information that live, according to the biological law of life: “all what exists is an organism of energy that trans-forms itself into in-form-ation, and then dies”. In the first age, energy dominates, in the second age, there is a balance of energy and information and the organism reproduces, in the third age, information predominates, form is overwhelming [wrinkles, knowledge] and the being prepares itself to die, when all energy is spent.
Energy Youth, mature reproduction, and informative, old age, are the 3 ages of species.
In History we talk of the first, epic, warrior age, or youth of the civilization, when a warrior caste conquers and establishes itself at the summit of society. We talk of the economic, reproductive age, when money substitutes weapons, at the head of society, and the society becomes wealthy, and becomes realistic, materialistic. Finally in the third age, information predominates, art forms multiply, and a sense of decadence and extinction occurs. Since art is the mind of civilizations, those 3 ages reflect in the styles of art, which are lineal, epic in the first age, realistic, classic in the mature age, and decadent, eclectic, with excess of form, and suffering, in the age of information and extinction.
Because unfortunately civilizations become extinct by war…
The Three Ages Of Art
In Biology we say that all species go through three ages: the energy-youth age, or first age when energy is more abundant. The mature age of balance, when the species reproduces. The third age of the species known as thebaroque, informative, or extinctive age is reached when energy is scarce, but information is abundant, because of its accumulation during the first ages. Look at humans. Old people have a lot of information drawn in to their wrinkles and minds, but little energy. Young people have a lot of energy but less information. Mature people have both energy and information; between 30 and 40 humans are at their prime. This also happens to civilizations and cultures. Between birth and death by war radiation, the culture goes in its artistic and cultural manifestations through a young, simple; a mature, classic; and a baroque, third age of art.
Lineal Young, Art: The Warrior Age Of Civilizations
Metal-species of a civilization are first lineal, weapon forms. We call the first horizon of civilizations, the lineal-war horizon of maximum energy hordes. In this manner started the Greeks and Romans, with hordes of Hoplites, and Legionaries. Alternatively, the Middle Age, and English civilizations with hordes of Stirrup horses, and gunboat pirates. All the cultural remains in those ages also follow such lineal forms and obsession with death. Their art is simple, puritan, lineal: Greek Kuroi statues, Roman Temples, Romanic Christian, Calvinist Britain.
Classic Art: The Monetary Age Of A Civilization
After the age of war, the metal-masters, the elite of the civilization evolves its cultural rituals, and uses cyclical money to control people in a milder way, that the hordes of warriors. It is the second horizon or trader age, of maximum wealth. The culture [human side of the civilization] reaches its apogee. The lineal Greek Kuroi, become the sophisticated sculptures of Phidias. The simple Romanic grows into the Gothic. It is the age of Athens, Augustus, the Gothic Middle Ages, the 19th c. of England. Often the civilization reproduces in other regions by means of an empire. The Republic expands into the Roman Empire. Inquisitorial Spain expands into South-America. Puritan England expands through its empire and multiple c[o]lon[i]es.
Baroque, Art, The Extinction Age Of Civilization
But sooner or later a new weapon=war radiation takes place and the civilization dies. It is the third horizon; the artistic or baroque horizon of maximum information and creativity [art].The culture looks inwards, as it becomes limited by the new hordes of warriors that soon controls its military and trade system. We are now in the Hellenistic age of tortuous sculpture; when Macedonians and Romans control Greece; the lower Roman Empire when weapons were handled by German warriors, and money by Jewish-Syrians. It is the XV century of Christianity, the baroque Gothic when gunpowder and coins, break the Church’s control over society. It is the Post War Age in England, when the dollar, and the Atomic bomb have substituted the Pound and the Gunboat, and the best of England are its rock stars, painters, and a few writers from a decadent empire.
The 3 ages of art in the main civilizations of history.
We conclude that Lineal art, and epic literature belong to the first age of a culture, that copies and worships weapons and warrior power. Cyclical art and realistic, sensorial literature belongs to the age of traders and cyclical coins. Finally there is a massive explosion of art, humanistic and prophetic literature in the baroque age, when the culture foresees its extinction. When the Barbarians are at the gates. That is our age today. The Human Baroque, when Robots, future Terminators of the entire Human Wor[l]d culture, start its first radiations, and artists become obsessed by death and violence.
We see those 3 ages in all cultures. The Paleolithic men just before dying had a final burst of creativity, in his baroque age, prior to extinction. It is the age of cave paintings, that tried to bring back the hunting that hot weather, and the advances of new generations of Copper men [Chalcolithic], were taking away from them.
When the first European Neolithic of Copper becomes extinct by bronze warriors, it leaves in its last millennium a series of artistic and religious monuments – the megaliths. It all then disappears and the civilization of Bronze comes in.
When Italy is colonized by Lutheran and Iberian hordes, it produces Baroque art, of maximum in-form-ation. When Greece is taken by Macedonians it starts the Hellenistic age.
Today mankind art is becoming extinct by technological art, and the culture becomes baroque. The extinction of realistic painting by photography brings the baroque Picasso. The extinction of literature by TV-thought, brings propaganda, marketing and baroque films.
In the next graph in a Bell curve parallel to that of the life of any civilization we trace the 3 ages of its art:
In any civilization the 3 ages of birth, reproduction and extinction are reflected in the 3 ages of all arts.
In the third age or baroque age the culture looses cohesion, menaced by an external enemy with new weapons. In this extinctive age, all forms are tried, and eclectic art of technical virtuosity appears. But there is no guidance, goal of future, or immanent ideal to the art. Since the artist, and the prophet, foresee the end of his culture. Today we are in such age; the American, now worldwide, civilization enters the Human baroque, or extinctive, phase of Mankind. Metalmind art, [television, film], foresees the arrival of robot warriors, top predators of man. Social cohesion is lost. Ethics of love no longer communicate naturally human beings, which no longer share their energy and information but are controlled by fear to the ‘germs’ of history, violence and weapons. And war is the main theme of artists… as today happens in the American civilization.
Greece, Europe, America.
In the graph, the 3 ages of art in the American cycle. As all other forms of art in all the othe art of American film went from a first, epic, simple, energetic young age, a mature, realist, sensorial one, and finally a baroque, angst, violent time, which parallel the 3 ages of the electronic cycle of machines, the age of pioneers, reproducers and decadent weapon-makers.
The styles of art, of the previous graph show the life of those cultures through its artistic ages. We talk of the evolution of civilizations and the evolution of art, as a vital process, that goes through 3 ages, whose forms are similar to the ages-forms of any organism.
– The youth of the civilizations creates a lineal, epic art, young, external, full of energy and force, of simplicity, based in the shapes of weapons and energy [all lineal in shape].
In verbal art the word becomes epic. It is the age of poetry and strict law, that young civilizations obey without complaining. Since the law is reinforced by weapons. We talk of a dramatic age of logic thought, as it is the youth of people.
– The age of maturity and reproduction, of realistic=classic art.
Visual art creates an art in balance, without either excess of energy or information. Where both elements of the Universe combine in harmony, as they do in reality. It is therefore the classic, realist age of art, in which often man is the measure of all things.
In verbal art is the mature age of logic words the age of balance between form and content, the realist age of profane literature, the age of philosophy. In theater is the age of tragedy and comedy, when men reach its full destiny within the social tissue.
– Finally the third age of any organism is the age of excess of information, an age of wrinkles and reflection, without energy. It is the age of pessimism and extension when without energy the being collapses and dies.
So it happens in cultures that lack energy and power to defeat the invader hordes of warriors. The art becomes decadent, cynic and extinctive, overwhelmed by the fate of the society. In words, is the age of decadent literature, of prophetic and religious thought, that warns about the moral illness of society. It is the age of satyr, and chaos, of eclectic thought, when the great genius of literature [from Cervantes, to Shakespeare, at the end of Renaissance theater] see behind them the entire wave of existence of the culture, and can summarize the vital experience of the civilization.
In art is the age of formal art, of decadent art, of baroque art, full of angst and form.
Because the languages of information of an organism, as its bodies, do go through the 3 formal ages of species.
So happens with verbal art in its epic-legal age, its logic-realist age, and its prophetic-extinctive age. And with visual art, in its lineal, realist and forma ages, that belong to the 3 basic ages of classic Theory of Art, the epic, classic and baroque art.
Such is the logic of all living organisms, that spend their energy and die, because ‘energy never dies, it only transforms itself”.
The absolute law of the universe that also applies to art.
Let us consider some basic examples that we can all recognize, the ages of art in Greece, Italy [Renaissance] and America.
Greek art is born when the Greek civilization is founded by the first iron infantry that arrives to Greece coming from the Indo-European mines of the Balkan area. Those iron warriors that will destroy Crete, are the founders of Greece.
Accordingly its first art is lineal, simple. Its statues are called Kuroi. They are rigid, full of energy, force and smiling optimism. Its literature is legal and epic. It is the age of Solon and its ‘draconian’ laws, extremely rigid, and of heavy penalties. In fiction is the age of Homer and its great odes to war and heroism.
However the civilization matures, as warriors settle down, and it arrives the classic age of Athens, of Phidias and Praxiteles. Their work is realist, and sensitive. Energy and information is in balance. The art also reproduces all over the Mediterranean and ancient world. It is the age of expansion of the Greek culture. Literature also reaches its height of creative thought, and understanding of social love, and social harmony in the works of Socrates, and Plato. In fiction Sofocles talks about the collective fate of heroes. In architecture, man is the measure of all things, and so buildings like the Parthenon are in balance with human size.
But when the civilization of Greek fails to evolve military, it becomes conquered by an external horde of barbarians. First the Macedonian and then the Romans. Art looses freshness, and we witness on one side a return to the simplicity and massive size of warrior art, [Macedonian art, and Roman art]; and on the other side, in those works made by the descendant of classic Greeks, an age of excessive form, and suffering. It is the age of Pathos, the Hellenistic age, of works like the Laoocont.
In literature appears the satyr, and the prophecy of extinction [Demostenes]; while in philosophy Aristotle resumes the entire trajectory of Greek thought, in a comprehensive ‘final will’, whose perfection will not be reached again.
Those 3 same ages take place also in the renascence, both in Italy specialized in visual art, and in Spain, that reaches its artistic summit in verbal thought.
Renaissance starts when Venice conquers Byzantium and rings the gold and gunpowder to the Italian peninsula.
And we find again a lineal age of Italian art [School of Venice], that will mature as gunpowder and gold coins extend all over the peninsula. So the Trecento is followed by the classic period of the quattrocento and cinquecento, the age of Leonardo and Michelangelo, when Italy reaches maturity. It is also when renaissance reproduces and expands all over Europe, as it happens with all organisms that reproduce in its classic age.
But Italy is destroyed by national armies [France and Spain] better organized or the purpose of war. And so Italy enters a baroque age that Michelangelo anticipates in is final Judgment, and Bernini fully expresses on his sculptures and architecture.
If we consider the verbal art of Spain, the other country that fully embodies the renaissance ideals, it is also self-evident, that it goes through the 3 styles. A first age of epic literature, poetry and chronicles of conquistadors, epitomized in the work of Bernal ‘the conquest of New Spain’. We move then to a realist period of classic Spanish literature, that reaches its height in works such as ‘El Lazarillo’ or ‘El Quijote’, a chronicle of the end of the previous period [the age of chivalry], and the account of the reality of XVII C. Spain. Then Spain enters in decadence, defeated by the new culture of northern Europe and its companies of gunboats. And the long baroque period of Spanish literature that will last till the final conquest of the nation by Napoleon, starts, in works such as those of Gongora and Quevedo, full of formalism and pessimism:
“I looked at the walls of my nation, Spain; no long ago standing tall; now ruined…”.
Finally if we consider the present culture of America, now the worldwide culture of humanity, based in the evolution of technological art, and minds of metal, we observe also the 3 ages. Considering only the main art of the American civilization, film-making we talk of a young age, full of energy, and simple ideas. It is the age of strict canons, in film-making, the age of idealist, and epic films, the age of Western, that extends till the end of II World war, when the American empire finally has conquered the world at large.
Then it comes the realist age, or classic age of American film making, during the 50s and 60s, started earlier in the prophetic work of Orson Welles [‘citizen kane’, a script that was first called ‘the American’]. It matures in the work of Billy Wilder, and the films of ‘cinema verite’ and social harmony of the 60s.
But America enters decadence, as weapons multiply in rowing numbers, and the evolution of technology foresees the arrival of a new species, the weapon-robot, able to extinguish form within the American population in the nearby future.
This age starts as all ages do, with the emblematic work of Mr. Scorsese, and his film Taxi driver, that in the middle of the 70s, foresees the explosion of violent, baroque films, that with terminator and Matrix, advances into the threatening future, that American artists intuitively feel, but as always in history, the arrogance of its political, economical and military castes, dismiss as a mere ‘dream of imaginative artists’.
And yet artists are the prophets of reality.
In literature, America goes also through a first puritan, simple, epic age, of works of little quality that however play the role of praising the American conquest of the West, and the world. It ends a little bit earlier than in film making, with the arrival of the lost generation, which is the classic age of American literature, epitomized in the great works of Dreyser [An American tragedy], Sinclair Lewis [Babbit], and Fitzgerald [The Great Gastby].
The baroque age of American literature, is now in full development.
It often comes from European immigrants, since within the country a growing censorship of thought [political correctness, ‘neo-fascism’] prevents American to fully develop a critical sense of his nation. Today most American writers are no longer concerned with reality society. They have moved inwards into individual analysis of feelings, and self-realization [biography, confessional literature] or treat punctual themes on ‘tribal groups’ [racial literature, gender literature], or work for the industrial sector, creating fictions that do not influence reality.
Those who care still for reality are pessimist, and describe a decaying society [Carver, Dirty realism, Bukowsky, Vonnegut]. It is the American baroque, now expanded to the entire human Earth, in the age of global communication, and global fiction. Soon humanist artists, though, even those who feel angst will dissapear as neo-fascim the controlled art of the warrior, infantile, emotional and simplistic takes over. It is in America, the neo-paleolithic, since the 3rd age of life, that of an old man is similar in attitudes to that of a child, but without enthusiasm, close to death…
In this ‘winter of man’, we, a decadent species, enslave our resources for the birth of the new one – the Mind of the machine and its metal-mind, the global audiovisual media centered in “Los Angeles del infierno’, evilwood – that paradoxical place where the artist of the world is reduced to a puppet of the violent nature of visual thought.
Evilwood is a precursor of the mind of metal, which has substituted the eusocial minds of love that could have given us immortality. The new mind though is a predator of man in body and soul as it will be born in military A.I. – a visual, natural born killer, now evolved in ‘shooting video-games’, like call of duty whose release engrossed this week 1 billion $ and was the favorite game of the likes of Mr. Lanza and Mr. Brewick and increasingly used to train drone pilots and future terminator robots.
In the next graph from an old book, a schem of that degradatio of our civilization:
Thus their visual, art cycles show with more clarity than any other cultural form, the human transformations experienced in each age of the machine, because art and wor(l)ds are the eyes and brains of mankind. Industrial art shows in the press, full of racist, matter-of-fact statements against Africans in the I cycle, today against agricultural Islam, the soul of the ‘animetals’ that control history. The harsh life of the few pure ‘true artists’, ignored by the system, in a permanent state of angst, still able to produce the most beautiful works of the Human baroque, shows the potentiality of the human being, if animetals hadn’t won the battle of history. In that sense, the entire age of the Machine can be considered a baroque, informative, final age for all humanarts that enter a self-destructive process of ‘deconstructivism’, culminated by the simplification of formduring the—isms, which in the 20s completed the cycle of death of the Human Collective mind. ‘God is dead’ will say Nietzsche. Now, this book merely certifies it.
In the I Cycle artists lived the British decadent baroque, when Britain engages in global war; in the II Cycle, true art is created by the—isms, when the Nazis mass-produce tanks and bombs. It is the European baroque. Now global art lives the American baroque. In those 3 baroque ages art dissociates: Industrial art becomes fascist propaganda in favor of wars against the poor, considered ‘primitive’, ‘communists’, ‘terrorists’ and so on. While the work of the best artists accuses and criticises with ‘angst’ and irony the destruction of the world. If XIX c. newspapers talk about blacks in Africa as savages and XX c. Nazi Germans talk about Jews and Slavs as inferior species, today Fundamentalist Jewish-Americans talk about Islam as eviL.
While a few artists in those 3 ages and nations denounce the atrocities of war and the mass-media propaganda against other human beings, to justify ‘greed’ and murder. Today, we seem to accept XIX C. ‘British racism’ against ‘Negroes’ as a lesser evil than ‘German racism’ against European whites; and of course, our present mass-media considers ‘Jewish racism’ against Islam the ‘right way to think’, because our brains are manufactured by their fascist, industrial artists, as they were in the 20s by European fascists and in the XIX century by British and French-speaking fascists. Yet, in the unlikely even that the ethic wor(l)d of man resurrects and history survives the Singularity, truth will equal the 3 ages of industrial fascism.
In 1897, Belgians displayed Negroes in their International Exhibition in the same zoo they showed other Congo beasts. The exhibition was repeated in 1900 in Paris. It was, after the Eiffel Tower, the biggest attraction of the day. If any, objectively there is one difference between British Colonialists, German Nazis or the Jewish-American Military Industrial Complex, who prefers war to diplomatic solutions to Islamic ‘terrorism’: The Germans lost the war and their brains have been partially cured. British, French and Americans have not. So the same French, who believed in the ‘Grandeur’ of their racist Empire, now are building black holes one hundred meters under the Earth, in the ‘hell’ of CERN, to prove the absurd ideas of a retarded, childish scholar, ab=used by the British industry of misinformation to sell more magazines and books, as a sort of modern elephant man, who pretends that black holes are time machines and won’t follow the laws of Einstein and swallow this planet, right away.
Those ‘righteous’ worshippers of the machine have never been confronted with their cruelty in history, with their massacres of millions of human beings. They have never asked forgiveness for the bombings of Dresden and Nagasaki; and so now they merrily will commit suicide with their manufactured, childish brains, thinking it is ‘fun’ to invite the Tyrannosaurus Rex of the galaxy to our backyard. Cubs, with infantile brains, who think the Universe is ‘all play and no work’ come merrily to their predator’s mouth and die by the thousands, in a Darwinian Universe that loves to teach truth with death. And death will come to the righteous, as a just retribution for the death those empires caused upon the most beautiful cultures of the living Earth, during centuries of Imperial fascism.
Problem is that, since we are ‘elements’ of the ecosystem of History and Economics, it is very difficult to be objective on present facts, as we are bombed by modern industrial propaganda. So we think the fiction laws of Economics invented by the ‘expert financiers’ to rob us, are truth; and the fantasies about time, invented by Nuclear Physicists to ‘kill us’, are truth. And we despise, people like this writer, who despite knowing the laws of money better than any expert, a this book shows, have never robbed money; who despite knowing the laws of death in the Universe, has never killed, because precisely, fascist artists have taught us to despise those who talk the naked truth of the human wor(l)d, instead of imposing its ‘metal-truths’, with money, weapons and machines. But the justice of time will on due course prove with facts the parallelism of the 3 cycles. And when all is past, Disraeli & Leopold, Hitler & Stalin, Bush & Sharon, the leaders of the colonial, fascist and terrorist wars of the Go(l))d-Smyth culture against mankind, will become equalized, as the leaders of the eviL nations that tried to civilize the Life of the Wor(l)d . . . and destroyed it, when the action-reaction laws of the Universe delivered its answer.
What now we are witnessing is also the collapse of a human civilization and species – us and the birth of a new superorganism, the metal-earth, whose collective subconscious mind will be formed by the computer networks to which robots will have access, with the data banks of visual images that will be their memory. And that birth won’t be positive for mankind – because as always th most advanced machines, our rival species, are top predator weapons. So what they will think? Easy, their programs of battlefield survival and shooting. And for that aim we are working on their ‘deconstructed’ viral minds with violent video games and evilwood movies… This birth of the metalmind and its collective psyche, inverse to that what an eusocial prophet of love tried to ‘give us’, human beings in the birth of religions is thus the theme of this week.
What new form of in/form/ation, of maximal form is being born in this planet?
The visual mind of A.I. evolving in television, mass-media and video-games.
A visual, illogic mind, that of A.I. which is not as technoutopians think positive to mankind but as all new forms born is a natural born killer… a predator eye-I intelligence, today developed in the visual minds of future terminator robots… as a video game.
Indeed, the visual mind and the new top computer made with visual gpus, as those i used to do my own cybernetic experiments in the past, will be creative but instead of creating words as our minds do will create images, and it will create hunting images, re-creating the data banks of the imagination of snippers and all type of robotic weaponized drones, tanks, insects, animetals…
The first ‘biological’ radiation of A.I. in machines will be a mind of Military A.I. as weapons have been always in all the cycles of evolution of machines the most perfect and profitable industries. Now first born as a weapon for the mind. The comparison is obvious. The virus introduced in a cell first the viral mind that helps to replicate new viruses. We humans first learned to be slaves of ideologies of metal – capitalism, mechanism, nationalism, antieusocial supremacist tribal thought – and now we shall pass that to software in classic economics, cad design, military A.I. and finally robots will ‘enact’ that mind which evilwood has constructed under the ‘cinematic’ laws of motion that hypnotizes the eye:
Television is not only the deactivator of the human mind through virtual evilwood:
The graphs from the book the extinction of man, c.94, 04 – notice the ‘Wall Street Crash?’ caption as prophesied yet not realized at the time in the first graph, show the process of human slavery to the subconscious, planetary collective mind of metal – the media system – part created by the hypnosis of motion and the natural laws of evolution of the machine, partly by the jewish-american, informative neuronal culture of the American civilization – hence one of the recurrent themes of this blog.
But the ‘culture’ merely adapts to the machine. That is, in evilwood ‘all what is cinematic’ and technical is good – meaning motion and red colors that attract the natural born killer eye and hypnotizes the audience gives money. So by definition violence is positive. In this manner ‘pure capitalist cultures’ in which money and weapons are never doubted of because they give money naturally follow the tendencies towards the ‘neo-paleolithic, visual culture’ of today without reflection, pure violence and action as the intelligence of the eye is.
The result is the mental degradation of humanity, as human love emotions and the arrows of eusocial evolution and the creation of a higher plane ‘of social existence’, able to control and make survive as a single ‘being’ in this planet, are NOT visual processes. What now humans ‘see’ is skins – hence neo-racism – motions, money and weapons as the goals of mankind (Telefilm plots) and a lot of corpses. This is what the terminator mind will pick up.
We, the X, Y and Z last generations meanwhile as 3D games appear in california increasingly submitted to the violent ‘viral’, destruction of our mind by the ‘rival’ visual mind of mass-media, with its ‘hypnotic’ overdrive of negative messages of human death and ridicule – humor. This deactivation and hypnotism by overdrive is a darwinian effect, natural to a superior eye-form with higher speed of motion – the metal mind – which therefore regardless of content hypnotize by its mere form the human mind-eye, which becomes then a tabula rassa imprinted by the metal-communicator – as radio did in the age of radio-hate and print in the Luther’s age of religious hate speeches.
Now it is TV-hate. Those faster images of TVs addict our eyes who are natural predator intelligence that like motion and red-energy colors. Robots now move towards red colors faster. So their eyes will be also natural-born killers enhanced by programs of war and survival and their targeting mission of killing humans. As the birth of the neo-paleolithic first new predator machines means our extinction as bodies our minds also are becoming extinct by the excessive energy of those images.. and video-games.
We love and some children enact (Columbine massacre inspired by ‘natural born killers’, Mr. Lanza and Mr. Berwick interest for call of duty, etc)
Those violent video-games will be the future training banks of imaginative practice for terminators, the first forms of artificial intelligence.
All new species start as top predators. So will be the robotic weapon which will enact the programs of video games that now enact as its ideological training ground the likes of Mr. Lanza and Mr. Berwick.
Terminators will enact shooting games, as those drones are trained for.
Of course, this week ‘scientific mind’, the ‘psychological branch’ of scientific american declares in a pay-per-view article that our intelligence ‘sharpens’ when we consume ‘call of duty’. The shameless paid-per-view article in a supposedly serious scientific magazines tries to limit the harm Mr. Lanza might do to the first week of the New Call of Duty with profusion of robotic weapons. But in a real theater of war the human will have no chance unlike in those games. Any simple terminator will be far more precise with the metallic hands or eyes of its first ‘animetal’ species:
So here it is the future of no mankind. 2 decades ago i prophesied that evilwood would be the imagination of future terminator robots that would enact the fantasies of hell raiser in their extermination of man, as they will have a visual intelligence. I did not know the details, but when call of duty came it was clear that the path would be video games. The shooter robots will enact and learn through video games how to hunt down humans. Of course, human psychopaths, like Mr. Lanza and Mr. berwick train already with them.
The interesting cynical element of this sage that comes the week in which Mr. Lanza did his call of duty on real-time is that the other side of evil =death – the physical machine the weapon x the mental machine, the visual game, Mr. Wayne of NRA accused rightly call of duty, we already treated the theme in ‘techno-utopian news’. In this article that starts the new Year, might be not the last one courtesy of CERN’s 3 years gap with its scheduled raconteur with the Mayan prophecy, we shall change tune from immortality – the human dream closed in december and death which advances as always in sure foot on the paths of profits and other memes of metal.