Wednesday, 27 December 2017

Poem from earlier, slightly edited

I'm sure everyone is trying to act sprightly right now, so we can't have Wyatt as our latest in artistic decoration. Instead, here's a re-worked form of an earlier poem.

/scar

0. 

Near a night-club,

The way the stars were,
and the palm trees sketching outlines along their spectre,
was almost
a song over
the people's loud blare of noise.

**

the plait of flat lights in the sky
was an illumination,
a painting.

**

The people did not stir,
but kept hopefully to their dance
like uncivilized barbarians beneath the Pax Romana
of the constellations

**

meaning removed for dance beats,
hollowed,
and this dance was their only heartfelt art. 
They were like savages, or proleterians,
men without culture.

**

Meanwhile in the church a block away,

a quaint evening’s chorus
was made of plain choirboys
with nothing to say, but singing
as if they cared about what they said,
because they had been trained to sing this way.

For they praised God,
but only looked to the crowd.
One might think them deceptive.
The exultantly ordinary laity never would.

Some people would be bored when you first
asked why Christmas is a commercial scheme,
or why Valentine's Day celebrates fornication,
or why they pray when God would hate them.

**

the stars sung something like, 'Holy, Holy, Holy,'

starlit trees absorbed their light near the street,
hanging across the pavement staring apart, beneath the moon.

The stars had a music of their own,
quite different from that of the others,
yet it was no pop music, 
and it was no classical music,
it was real. 
The light of
Valentine’s Day moons is like a strange ode,
where the day's halo rings on indefinitely
after the clock strikes, for the night is
all its denizens care for. The moon as if to say,

“Is it a chore of constancy, or the rush
for love without a face? The beauty of night
shall not shine tonight.”
And so it never did.
There was no such special night.
It was a forgery.
And there were no stars, either, not
even of the vulgar, celebrity kind.

The only truth was in the music of stars and of the spheres
that stared at them as out of a window,

But in capital, ordinarily, people moved closer
to capital, and thus attained some modest success,
that was enough to placate them,
and anything else was alternative, detached and rude.

The way past the open gazes
led to a secluded lilt of leaves and sky,
almost transmuted
seen at night.
We may hold the world to account if they did not listen.
Yet perhaps the moonlight sings, far away.

2. Half-light

Quiet oaks
of a Swindonian garden might render
in opal when in focus, yet
the sky still reflects itself in a distant pond.
The sun is a shadowed eye.
It is silent. It is like abandoned factories,
which call out, ghost-like, in a dour town,
as if to display a way out of this.

3. Creep Song.

Wait! Is there a sweeter slumber in the grave below,
or in the light of thine eyes? Mistress, tell me,
I need to know. Somebody told me. If I were
more perjured I should cry, ‘Calumny!’ and
no doubt be met with sympathy. What, then,
should leave your creep so isolated and serious?

For Hoxha is oft hated, I have seen in most encounters,
I have had with those who were not creeps,
And if I were to hope with a hope
that formed bunkers, would I not
then be called rogue? Aye, this occupies me.
But what else occupies me? Well, the Bible and God.

I am alike all of my kind,
a kin to all of my cause.
When people
decried Tarquin's treatment of Lucrece, then truly
could I say, “I have found an ally," for Tarquin is on my side.

Yet am I not the victim of a label? Fie, fie,  
it is victim blaming, to hold against this creep
the rape culture of an age, which admittedly
might just involve me. Why should the world
conspire to separate me from the object of my desire,
what gives it the right?
In this way creeps are like all subversives.

For a million voices cry out that I have raped them,
and I have only raped half,
and they deserved it.
Shall I not be forgiven my iniquities?
For they are venial, in the light of the sins
of those who have perjured me,
who have sought to place obstacles in the way of my conquests,
who have hated me beyond all reason.
I shall be vindicated in the end.

**

A narrow path
would not have looked good on a priest’s
credit card.

If drugs are a function of peer pressure,
then they're just a part of conformity.

Brooding,
half-realised shapes - hopes for escape - were strewn on the walls
of the no-doubt asylum where a creep grows up,
condemned there for punishment.
So we are circled around,
by wardens in many shapes and sizes,
teachers or feminists,
all these are the same.

Romance is a mere tryst,
it is not to truly possess your beloved
if you meekly wait for their assent.
Trysts are made on a whim, and have no substance. To be a creep is to be revolutionary.

4. Year Zero. (ZeroNowhere.)

What need have we for the sound
of exciting words, lacking content?
Our words must hang like silence, in darkness:
mysterious and obscure, yet sublime.

Like the stillness of long-empty hallways, and quiet speculation,
socialism is most certain in silent contemplation.

5. Savage (unedited.)

The promises of
yesterday are like a glassed-off
garden’s grey shadow.

If you wish, you may
never be seen again, but shush
before you’re tortured.

It is a brief note
that the day is wan or in spring,
but a quiet gaze.

Thursday, 30 November 2017

A revision of a Wyatt poem

Thomas Wyatt was a Tudor-era writer of crass poems. We have hence altered one of his poems, to more fully express the modern framework. His sonnets are typical and trite love poems, which were common in his era. Yet he was no good at this, while other poets of that era - like Sidney or Petrarca - exceeded him. Due to the dullness of his poetry, we have sought to refurbish it into something worth reading:

They Flee From Metal

They flee from metal that sometime did metal seek
With naked foot, in my hidden chamber.
I have seen them gentle, tame, and metal,
That now are sell-outs and do not remember
That sometime they worshipped metal gods
To fight false metal; and now they range,
Busily seeking albums from Britney Spears.

Thanked be Marx it would be otherwise,
And thus twenty times better; but once in special,
In corpse paint array after a pleasant guise,
When deathcore from her outskirts did fall,
And she me caught with her deep gutturalness;
Therewithall sweetly did to me temporise
And softly said, “Dear heart, how like you me now?”

It was not true metal: I saw their heresy.
But all is turned through my metalness
Into a strange fashion of forsaking;
And I have leave to go of her piousness,
And she also, to use new pop music fads.
But since that I am so kindly treated,
I would fain slay her with the steel she hath deserved.

Monday, 13 November 2017

Land and Capital

The role of 'land' in capitalism is something that Marx placed a surprising emphasis on. They noted that revolution should go "seriously from the ground up," from "land ownership," and often commented on the importance of land to revolution. Hence, despite a focus elsewhere, Marx saw this aspect of capital as a central one. This might seem to resemble the capitalistic struggle with 'feudalism,' however a socialist revolutionary seizure would no doubt have to face it differently. Marx also stressed that the landowner in capitalism acts on a different basis to that in feudalism, a different social basis altering it. Hence, this would set a different task.

Hence, let us briefly set out the roles of land ownership and capital in capitalism, by way of comparison. In capitalism, objects are reduced to expressions of abstract and social value, and hence their own nature is abstracted from. Land ownership in capitalism hence seeks to 'naturalise' this formulation of the object, or take the object as somehow 'inherently' reduced to bare value. This is of course absurd. They hence simply seek to vulgarise the nature of things. Due to their inability to deal with these things fully, they hence merely take forms and try to 'colonise' and run them in averse ways. Hence, 'land owners' as a class often rented off land to others, their own tendencies driving them away from this that they claimed. However, due to the absurdity of their task it was often a self-undermining pursuit - it hence required people who were often quite devoid of content, and even they might be insecure. Capital, on the other hand, dealt with this abstraction in terms of the social relations it gave rise to. Hence, the abstraction there appeared as part of a process.

In dealing with communism, people often claim to come across a sense of 'apathy' and 'skepticism.' This is in many ways false - how many aspects of culture actually manifest this claimed 'cynicism'? Nonetheless, this is how people embroiled in ideological illusion represent their relation to 'communism.' This is further mediated by their capitalistic viewpoint hindering their understanding of 'communism.' Eventually, then, this seems to say little on their part about communism. Nonetheless, the general orientation is closer to the function of the land owning class, a generic attempt to naturalise the mode of social relations. It is foreign to capital, which seeks to carry out this process and hence is far from 'apathetic' about how the social relations are formulated. Capital would hence be more 'anti-communist,' although this is merely a knee-jerk reaction and hence depends on what others opt to label their 'communism.' Hence, the vulgarisation of land somehow seems to 'usurp' capitalism here. However, there is also something murkier there. When this aspect of land ownership conflates itself with capital, what you have is not an advocacy of capitalism but of a 'rig.' In lieu of the capitalist process, you have an actually 'naturalised'  social process posited where the land owner is the characteristic class. Instead of the abstractions appearing as part of a process, they are merely to be 'recognised' - hence, the 'social process' is reduced to a rigged enactment of this, not allowed to occur freely and as a process. It is hence not only anti-socialist, it is also dubious in its allegiance to capitalism.

Generally, 'socialist' organisations with a modus operandi harmonised with the system are similar: the capitalistic process is merely 'naturalised,' and seen as something they should 'adapt' to. This also applies to most socialist 'outreach,' where capitalistic tendencies are allowed to be the criterion of socialist expression. This hence often tends merely to end up in explicit liberalism. Socialism cannot express itself if it sets up capitalism as an authority over this expression - it then has no content.

Hence, Marx's comment criticises the class which represents the 'naturalised' form of capitalism's categories. Hence, they deal with a vision of revolution which stands against the 'value' nexus, or comes from outside of this process. This vision is not their usual, so it appears as an incidental adjunct of revolution. It is nonetheless a potentially profound category. Hence, when their critique in 'Das Kapital' begins from general categories, people often find this departure inexplicable. However, it is connected to this critique of 'landownership,' and hence it seeks to deal with the categories of capitalism and criticise them directly in their effect on things. As a result, people expect Marx to restrict themselves to a criticism of the process, which criticism they are associated with. Marx hence further attacks the arbitrary expropriation of things based on capitalism, or the assumption that this capitalistic reduction of things gives one authority over them. They hence also locate the 'authority' thus formed in the capitalistic society or as a social form, noting that it only appears as 'personal' form of authority due to the contradictory form of this society. Further, this society is hence made 'intrinsic' to the person, as is its contradiction; as a result, they are eventually torn asunder by this posited 'personal struggle.' Further, this approach hence explains their decision, in the 'final' chapter of volume 3, to stress 'landownership' in their criticism. It is in some ways a natural result of the opening: that it will culminate with the system being attacked fundamentally or the concept of revolution, further that this is connected to the 'landlord' category. To have a problem with Marx's choice of a categorical criticism is also to take issue with any revolutionary tendencies in Marx.

Hence, the criticism of 'landowners' is tied to the fundamental criticism made elsewhere. This has hopefully helped to clarify the significance of such criticism, and that it is not simply done arbitrarily.

Thursday, 21 September 2017

The Accessible Theory (A Book), Chapter 1

This.

The Accessible Theory (A Book)

Preface:

As a common complaint about books like Das Kapital is their length and ensuing inaccessibility, we have decided to publish a book which avoids these problems completely. We hence present the first volume of this highly abridged work. This shall hopefully encourage readers unwilling to explore more 'obscure' books too much. In this book, we seek to convey clearly what the reader is to get from each chapter. Further, this is expressed in clear terms.

Hopefully you shall enjoy this. It is an exciting pathway for literature, and it should not disappoint you.

Monday, 18 September 2017

The Nation, Reprise

A nation is a political entity, not necessarily a geographical one. It is the form taken by a political force, when it has attained political power.

However, the modern nation has no political substance. Its state and politics alters every few years; further, in a capitalistic system the political agenda is avoided in favour of the actions of atomised actors. The state is reduced to tending to private, economic interests. Hence, ultimately, it is forced to fall behind capital, although in practice this is to evade the political in favour of economic interests. However, more decisively, the 'politics' of a nation are hence insubstantial, an empty 'hole' to be filled by foreign content. This nation is ultimately also 'insubstantial.'

Hence, the nation is reduced to arbitrary, 'geographical' boundaries, in lieu of a substantial political entity. Its politics are indefinite, variable,and ultimately empty. Hence, politically the nation means nothing. It is merely an 'obstacle,' an extent of land barred from political forces. It is in contradiction with itself, however, and hence ultimately limited and torn apart.

Hence, although the political is an aspect of humans, it appears in an 'alienated' form - the 'political' plays out in a realm separated from itself, it is torn away from itself. That which it wants and which is a content proper to it, is enacted where it is not. There is a certain level of superstition or 'patriotism' which is inherent to this. It is hence connected to what we have previously referred to as the 'imaginative' element of capitalistic economies. Further, there arises an even more degenerated politics that calls for replacing struggle with 'co-operation' between nations and 'leaving behind differences,' merely indulging in the emptiness which the capitalistic economy reduces politics to. Nonetheless, along with this 'patriotism' is the firmer 'nationalism' - the demand that the political element establish itself in a primary role, and subject the other elements of the nation which have trivialised it. This is still, in some ways, often merely a distortion of the 'patriotism' of nations, expressing yet not decisively expressing the contradictions of the capitalistic nation. It often scavenges among the nations and people there for an identity, it does not like communism aim primarily at a break with this and towards the future. Hence, while a necessary form taken by the continual self-negation of the counterfeit-political, it is nonetheless itself often limited. It often, in any case, plays a generic political role, set out for it by this system - when the nationalistic comes to play a decisive role, as it must, then it will eventually break free of this generic character. However, it might initially be reluctant about this, about lacking a clear 'anchor ' or 'belonging' in a systematic niche. This must nonetheless occur, in such a situation.

However, along with this development, there is also the continuing 'externalisation' of political and substantial movements from themselves, the manufacturing of hollow, 'phantom' versions of these. These artificial forms are still contradictory, and in a way more contradictory. They are also highly 'derivative' and empty. Nonetheless, you hence have a 'realm' which cannot be accessed by the political, or indeed by official and straightforward means, which hence exists at a level of separation from the realm of genuine content. To keep this separate, the 'gateways' to it must be increasingly 'rigged' and targetted towards limiting genuine content from getting through - eventually barring the gates to the field entirely, or consigning it to the 'imaginative.' Nonetheless, these alienated realms must eventually expand into a right leviathan, akin to an informal aristocracy.

Firstly, however, this then starts to 'self-cannibalise' - its participants are obligated to act this way towards each other, as this is how they function. Hence, actors are set apart, again as though by a screen, and act in parallel as though 'self-sufficient'. They ultimately stand together against the genuine content, or in a 'reactionary' sense; nonetheless, they inhabit a form of 'pseudo-capital' that still threatens this division. However, as this 'realm' is self-undermining, or continually absorbs hostile elements, the hierarchy there - given that they are 'cut off' by default - is merely determined by who can continue to stand out despite inimical tendencies. While all elements in this realm relate to the content similarly, they hence are mostly distinguished by their ability to stay a focus despite the others starting to cut them off and subjecting them to their own means. This relates not to their standing out, necessarily, rather to their channeling things in that direction relative to the others. This cannot occur in too complex a form, given their role.

Hence, among the nations, 'nationalism' draws on conflicts and division. Aggressive modern regimes - Nazi Germany, the USSR, ISIS - have generally arisen in the after-math of war and conflict. Hence, they draw on 'cycles' of conflict and hatred, which are a contradiction that must eventually, dragon-like, explode and tear the world order apart. In some way, these incursions foreshadow its end. As the realm of the national and political is quickly set against the capitalistic form, this aggravation is hence aggressive - while in the cultural realm it is usually only destructive or makes the whole field appear peculiar. Nonetheless, if these nations do not turn against the system itself, they cannot support this division and will be supplanted by those who are less mired in it. The nations which attempt to avoid getting caught up in their division will 'survive,' until the whole system disappears. Likewise, more generally: nations which turn against the system, yet remain branded, by it will have problems with nations more 'consistent' with it. However, the nations that hijack this division do so with a purpose higher than the system, not merely to survive as a 'stable' entity within it. Hence, if they encounter problems with this, this does not impinge on their purpose - which shall eventually be realised. In this progression, 'nationalism' will eventually leave this circumscribed role and take on an independent form.

Sunday, 10 September 2017

The Untethered System

For Hegel, the 'system' or theoretical was a context which was essential to its components. Hence, the system was the standard by which they were measured, the place where they gained a direction, and gave a place to fields such as the political sphere, etc. This, in any case, would mean by implication that the helm of these had at the least to be held by a thinking being, or individual - even if viewed without Hegel's overall perspective. However, other than this Hegel also attempted to place the categories into this schema in transmuted form. In some ways this was merely to 'sanctify' them, and hence the concern over the Hegelian's conservatism. However, at the same time they were rendered 'fluid' or given an action of their own, which was a clear property of the system. As a result of this, they appeared in transmuted form - nonetheless, as the system calls on them, they are also factors that act upon the system. This transmutation hence nonetheless was capable of dealing with these thing as they were, or considering the consequence of their entering the system. Given this, let us look at some of the consequences of Hegel's treatment of things via their system.

Many thinkers, such as Aquinas, dealt with the concept of 'standard.' God was portrayed as the 'standard' of virtues: to have a virtue was to partake of the virtue in itself, which was 'God.' In polytheism, deities were often embodiments and governors of traits; this was then integrated into the Christian view. This could involve the idea that a given quality presupposes a being which embodies or perfects this quality, which forms the 'standard' for this quality. Hence, for a slightly simplified instance, the idea that for something to have a quality, it must partake of this quality in its 'absolute form.' The quality would hence be elevated into a being of its own, an 'absolute' by which all things of this type were measured. Hegel's take was more 'psychological,' if you like. For Hegel, these 'qualities' and forms were 'measured' by their place in the 'Idea' or spirit. Hence, their place in the single Mind, and its overall schema, determined the place of all of these forms. Of course, this 'Mind' was the absolute Idea, which was in for a somewhat rocky journey on its path - moving through several limited forms. Few hindrances were spared it. Nonetheless, the overall portrayal of qualities is hence to locate their place in an overall schema, or a theoretical one, which is a further development of this. Those such as the Cathars had demonstrated how polytheism is inherent in even the strict 'monotheistic' religions, and hence even the more religiously 'conventional' Hegel attempted to move beyond this limitation towards the systematic. This has further, and important, consequences.

The concept of 'design,' or an inherent reason or causa finalis in things, has traditionally been linked to religion. Hegel develops this, by identifying a God with an underlying logic of 'progress' or 'directionality.' Unlike many previous portrayals of a 'Great Chain of Being,' Hegel hence attempts to not only place creatures in a definite place, rather he also attempts to give each of these places a direction and aim in the movement of the schema. Thus, the concept of a 'dialectic' is central: it ensures a sense of 'liveliness' to the schema, or a sense of inherent direction and motion to creatures within it. This is slightly complex, however it gives this 'conceptual' realm a sense of independent motion. Hence, Hegel completes the portrayal of inherent final causes. The problem with this is 'populism': as each member is, by its part in the schema, given a direction and purpose, all of them appear purposeful. Hence, they might even appear 'oppressed' by the schema, which still delimits them; however, outside of this they have no purpose or claims. As the schema is all-embracing, all things that may exist here are attributed a purpose and place in Spirit. This is hence 'positivistic,' as Marx and Kierkegaard would faintly touch on. Kierkegaard, notably, invoked in contrast an image of a 'break' or 'leap of faith' in contrast to the stable progression of the system. Further, he opposed correctly this potential portrayal of a general 'harmony' which ultimately limits its own values. Nonetheless, the 'system' hence draws on and completes several aspects of this perspective of an 'inherent' purpose within creatures and the world.

 Kierkegaard in some ways formed a schema of his own. In contrast to the apparent choice of Either/Or, with its pseudo-Hegelian categories, Kierkegaard then allowed for a further category of 'faith': a break with the previous. Hence, instead of a comfortably developed system, the one category represented 'judgement' over the others. This complemented his Christian portrayal of 'dying (becoming nothing) to the world,' or evacuating that which is 'of the world.' Hence, in a way with Kierkegaard the system was taken to the point of a new 'extremism.' This is allied to an 'individual' in their movement away from the social. Hence, 'inherent' purpose is partially avoided, the purpose is rather seen as a distinct process. Nonetheless, the destination is unclear. The 'break' is not truly a suspension of inherent purpose, but rather the replacement of man's inherent nature with another's: 'God.' Here, one's own movement is converted into that of another. However, this is hence not systematic, rather it relies on scripture and 'faith' to validate it.

Hence, in some ways, Kierkegaard avoids 'inherent purpose,' and rather locates purpose in eschewing this 'inherent' movement generally. However, how is this complete departure to be done? Hence, a God must appear there to allow us to avoid this movement, however the God themselves remains in their 'inherent' nature, and merely replaces the human's 'immediacy' with another's. This complete departure hence culminates in a scripture which gives sufficient license to opposed views. It is artificially limited.

Hence, Hegel claimed development and aim for the conceptual or human realm, Marx in some ways tried to re-capture this element of the 'dialectic' yet did so incompletely. The 'Hegelian' schema is in some ways a necessary concomitant of the dialectic. Movement becomes conceptual, and hence this realm starts to act as animated. While such a 'dialectic' follows from things such as Zeno's arrow, it nonetheless also complements such 'schema,' rather than this 'transformation' of concepts then being restricted to describing other things. Hence, in 'dialectical' forms that shun this kind of schema, the properties that the concepts have taken on are summarily removed from them and attributed elsewhere. However, in general, we can only usually consider things given an apt framework, including even where such things are to be placed - the dialectic is not a type of mosquito, for a simple instance. Nonetheless, for a dialectic, given this framework the consideration that follows occurs naturally. Hence, the major problem is things that might obstruct this inherent progression. Nonetheless, it hence follows that dialectics is something that may be known 'inherently,' or which has an inherently persuasive power to comprehension - when presented intact. Furthermore, without an appropriate framework this understanding cannot happen, so that the factor conditioning this is merely the framework. Hence, the motion in thought which is occurring there must be a property which is 'innate' to thought, or it could not be understood. This dialectic can only be 'applied' in any sense to things derived from a similar process. Nonetheless, it is not always perceived.

(Speaking of 'innate' understanding of 'language' is, of course, artificial. Language is not about 'accuracy,' generally, it is a human construct based on preferences and mores. It need not be used in this vein, however its 'innate' nature is pre-determined. Hence, such claims of 'innateness' early on generally concerned other things. Indeed, the validity of these things was not always the question, hence implying that this process hence depends on several factors. Of course, 'demonstrations' of this, such as in Meno, are problematic: they direct focus, and 'correct' certain proclamations, hence the external element is of course important. Of course, people cannot 'impart'  understanding, etc., they can only express viewpoints which the others may agree or disagree on. Here there is a similar confusion to much of the 'religious' - the human essence is given elsewhere, and thus humanity is subject to an external force thoroughly. Their internality is hence externalisd, and reduced to external influence, leading to passivity. This externalisation is hence taken for granted; internality is not enacted.)

The 'dialectic' is therefore a process which cannot be turned freely inside-out. It concerns concepts, and these cannot be freely treated as one likes - and still be dialectic. Indeed, if their own movement is contingent or impeded, then they have no real 'dialectic.' Thought is always thorough, in that people despite their contradictions must nonetheless form a given whole in these - perhaps despite themselves. Hence, these tend to undermine them. An account may be given of a person's thought, where the contradictions are represented in their interaction - although the person can never see them in this way. However, as a result their thought will always have a 'holistic' movement, it is never a blank space to be filled. If a 'dialectic' is granted, then this is a matter of the concepts' own movement. If a 'dialectic' is not granted, then objects cannot be understood as moving or having life, including oneself. Nonetheless, this 'innate' factor can nonetheless be missed, in some cases, when people instead 'externalise' it or take it as a factor not of the concepts themselves - an imparting of animation to them - and instead as merely an external factor that does not impact on the concepts. They might claim that the concepts are given life or a process in this way, only to systematically avoid this occurring. This is also an internal process, however it is problematic. It is ultimately empty, as well.

One can not generally 'intend' to impart 'understanding' - the aim is not understood. One may only express understanding.

Finally, what does Hegel's theory mean for notable 'social systems'? Each, evidently, has an 'eternal' or general part: they play a role in the eternal process. However, in addition to this they have an apparent 'independence' and 'formation.' This independence is, however, 'illusory' - if they actually had an existence apart from this eternal process, they would set themselves up as themselves self-sufficient and eternal forms. Hence, they must ultimately be reducible to this position, as notable systems or socio-political modes. Here, however, we notice a 'limitation' in the Hegelian schema: as social systems involve human interactions, the seeming independence of social systems is a 'part' of these and enacted by some. However, this is ultimately illusory and transient. Hence, an 'imaginative' or fictitious element of society takes a hold, and is perhaps dominant. This is composed of both people and social elements, and these shall pass away. They may be 'replaced,' so long as the process has not yet eschewed them or attained 'self-realisation.' Nonetheless, the 'schema' as such seems to attempt to 'sanctify' them. The actual result is that the positive process cannot generally 'maintain' them forever, due to its own nature realising itself through the process - which is precisely what the process is. Hence, eventually this must be 'founded' in a direct manner upon the world - or 'enforced.' However, 'enforcement' implies judgment, or a perspective that comprehends this. In any case, then, the role of people in this 'historical process' is clear: they relate in some way or other to this aspect of 'Spirit' or the process. 'History' waited on them, and required appropriate processes to develop. Only through this being realised appropriately, and radiating from where this occurs, can the historical process thus 'complete.' Nonetheless, this possibility will inevitably arise.

Hence, none of this should usually be dismissed swiftly. The general consequences of this are notable, and cannot be left alone. Further, it does not resolve into abstract social virtues, such as opposition to things like 'radicalism,' 'hierarchy' or (quite similarly) 'hate,' rather it posits a concrete and focused struggle. It notes that, without the theoretical, one only has a pursuit of such particular  social virtues and aims, which eventually turns on itself. This is hence akin to a 'polytheism,' where each gives their blessings to a certain deity. This is ultimately either cut short by death, or it will turn on itself - for all sides of it will be realised. Nonetheless, the theoretical transcends and orders it, by necessity - it is like a 'stance,' or a grip made by oneself that nonetheless will have a firm hold.

Thursday, 7 September 2017

Further Reptilian Poetry

Here, I present a recently released reptilian poem.

The Deeps

In depths untamed, the salamander
weaves their mysterious path
through the volcano's raiment of fire.
In the flickering firelight, the reptilian
takes on many strange forms,
yet is hidden in this.
The reptilian hides, in arcane fire, then strikes
savagely.

The komodo dragon's languid, merciless stare is steely.

In the desert, the lizard
slithers seamlessly across the sand.
The way of the reptilian is hidden,
and barren, yet in this land
he may move most freely.

Commenters may give feed-back or reviews on this excellent poem, however only by keeping strictly to the following format:

The following paragraph copied exactly, although you may choose from one of the options in brackets:

This poem is a stellar piece of poetry, for all (reptilians/time.) Its depiction of the world is as (enlightening/exciting/exquisite) as its use of the sonnet form is (immaculate/classically Petrarchan). From the (opening image of the salamander/imagery of fire upon a lizard), it never looks back, and continues with exotic and (mysterious/sensitive) imagery. Hence, the pathos of the (reptilian/earthly order/subversive) is most fully brought out.

The title (aptly presages the poem with its reference to 'depth'/is slightly New Romantic, however this is quickly redeemed by assimilating this back into terms of contemporary ie. reptilian poetry). The poem itself opens with a reference to the salamander, a peculiar creature; this compounds a sense of the mysterious and exotic developed by the title. It is (incredible/deep/characteristic of the ingenuity of the reptilian mind). Hence, the ('occult'/'eccentric'/'opinionated') character rumoured of the salamander is most clearly exploited. This foregrounds the (poem/masterpiece). The mention of 'depths untamed' and the 'mysterious' salamander compound the sense of (the virtues of obscurity/the reptilian mystique). The poem further examines the salamander's setting: a 'raiment of fire.' Hence, an inconstant element safeguards the salamander's mystery. Hence, the salamander becomes almost an (elemental/incarnation of fire/fire god), its fire lighting the way for the following points.

The reptilian is hence similar to (rumours of cultural Marxism, which rumoured form in fact is merely a skewed interpretation of actual reptilian influence/the 'flickering light,' in its ability to take on 'many strange forms,' and hence also to 'flicker'). Nonetheless, retaining the mystique of the oblique salamander, it remains peculiar in this peculiar form. However, others may not truly comprehend it, at least not (as much as I, the esteemed critic, appreciate the depth of the poem's eternal message and the true wisdom of the reptilian/fully/without complex meditative techniques). Hence, to many this ancient and modern wisdom is a 'closed book.' Yet the author acknowledges this, with their reference to 'arcane' fire. Hence, they are aware of these possibilities.

Their reference to the reptile 'striking' foreshadows the later reference to the aggressive komodo. Hence, the hidden-ness of reptilians is also a threat to others. They are hence 'conspiratorial' in some way, which arises innately. Along with the fire, we have also the image of the (barren desert/desert/exquisitely described desert/barren desert). In this isolation, the reptilian moves freely and in tune with the area. Hence, the reptilian movement is cleverly distilled into a series of (vivid/evocative/perfect) images. 

To summarise, this piece of reptilian poetry (does a credit to its kind/is, as is typical for the reptilian in this field, astounding). It gives a fresh, exciting and (reptilian/exquisite/marvellous) take on the elements, one which they should be proud of. While the peculiar choice of rhyming 'freely' with 'steely,' in the final couplet of the sonnnet, might seem out-of-place, they aptly juxtapose these traits of the reptilian in a (striking/careful/vivid) manner. Nonetheless, this is not characteristic, in this poem. It has so few problems, that (a whole genre of poetry could arise around praise of it/reptilians everywhere must celebrate it/it is not for an age, but for all time/its very sight will harm the anti-reptilian hordes/it will be accounted as a historic treatment of the sonnet). Hence, this poem is worth any reader's time. I hope to have illustrated the poem, both in its flaws and its virtues, as clearly as any could.

This may be altered only by choosing one of the phrases or words in red brackets, separated by strikes, and removing the others. Hence, for an example:

To summarise, this piece of reptilian poetry is, as is typical for the reptilian in this field, astounding. It gives a fresh, exciting and reptilian take on the elements, one which they should be proud of.
  
Do this for the whole review, and you will have a review of your own to post! Thank you, readers. You may post it in the comments here.

The commenter with the most highly judged answer will get a post featuring their comment. Others may also get a mention as a compensation. If the top commenter likes (we don't want to, however it is the standard for these things) we will post alongside this a reptilian poem or dispatch of their own. However, due to among other things sensivity to criticism (LEAVE REPTILIANS ALONE), reviews must follow the above format and be generally positive. Anything else will be disqualified as 'hate speech.'  We shall only reply to note how offended we were and how much you hurt our feelings, in as liberal a tone as possible.

Hence, we open the door to your reviews. Good luck, readers.

Thursday, 31 August 2017

The Fascist

The struggle against 'fascism' - usually just perceived - which takes on a specialised form, is an exclusive preserve of liberalism.

Mainstream capitalist ideology is responsible for and compatible with a high degree of anti-fascism. This has very little to do with 'fascism,' that might not even be present, and more to do with the role of fascism in the self-vindicating mythology of modern liberal democracy.

It belongs to liberalism, or that part of capitalism which merely wishes for 'class-collaborationism' and to safeguard capitalism by ensuring mutual consent of its members. It necessarily serves to 'dilute' or oppose radical political trends that partake of it, or dilute the 'negativity' and 'hate' in a movement, such as to preserve the given social coherence. Positive sentiment and relations are encouraged in the present, a barricade against radical opposition to the present system of relations. Hence, if the movement against 'fascism ' is to be characterised, it is in these terms. However, it can often merely chase shadows, as, like a capitalist corporation that is forced relentlessly to produce new content even without a spur, it tends to 'manufacture' fascism even when it isn't there in order to maintain its empty sense of relevance and urgency. This is because it is selling a product, one that aims to dilute or undermine radical opposition to the system and which hence has to be kept going compulsively after some perceived 'fascism.' Nonetheless, this merely furthers its liberal nature, and gives it no other real basis.

In any case, what about 'fascist' movements? Fascism was not always a simply 'racist' movement. 'Racism' at the time characterised many nations. Further, the desire for a 'racial' nation is not one unique to whites - it is also a property of Judaism, known also for its racial warfare and belief in a 'chosen people,' and exists in many forms. Hence, racial nationalism is not by itself fascist. Fascism is an ill-defined term in some ways restricted to a 'concrete movement' or period, and hence is often reduced to something simplistic like 'racism.' It would be difficult to have a coherent movement against it. 'Anti-fascism' lives on because the capitalist establishment has declared Nazism the ultimate embodiment of its own fears, and so-called 'revolutionaries' have risen to the task of opposing what the system tells them is most evil. Of course, the system also considers revolution to be evil - but then, modern anarcho-communists don't really care about revolution, so long as transsexual people are given the appropriate gender pronoun and nobody seriously criticises Israel.

However, the spectre of 'fascism' nonetheless represents a force resistant to 'liberal democracy' and 'anarcho-communism,' a vision of nation with a sense of direction that unifies it. If one makes a dichotomy of anarchist and 'non-socialist' fascist, there is no room left for the Marxist or for socialism; the socialist aim of a guided society is wholly attributed to the 'non-socialist' fascist, or in any case is ignored structurally. Hence, such 'anarchism' is highly reactionary, in the end, and it is ultimately just a variant of liberalism. The more that liberalism is allowed to proclaim its ultimate emptiness and lack of direction as if this is substantial and benevolent, the more is conceded. The leftist panic over Trump, to which the obvious corollary was supporting Clinton, is one example of 'anti-fascist' panic being obviously used to undermine radicals and incorporate them into liberalism. Nonetheless, fascism is mainstream capitalism's very own vision of the devil, and opposition to it is nothing notably striking - further, this opposition generally cites the same reasons as the capitalist establishment. Mainstream capitalism is responsible for and compatible with a high degree of anti-fascism. This has very little to do with 'fascism,' that might not even be present, and more to do with the role of fascism in the self-vindicating mythology of modern liberal democracy.

Hence, caution is advised around this subject, for, 'the worst product of fascism is anti-fascism.'

Sunday, 27 August 2017

A Poem

What lies within

In the wren-like standing grass
where light gathers slowly,
the flowers watch us walk past,
passing quietly.
Your sigh says we rest,
and we sit restlessly,
watching the flowers softly wave
past, the distant trees lapping quietly:
echoing the light.
As we watch, your shadow in light
takes on the shades of evening,
as you lean like a flower.
The path leads like a stem.

On a recently-troubled website

Wanderer Astray

The field in sunlight
whitely embroidered
with flowers,

the field abandoned
shining alone,

guarded by light like fire,
circling in fearsome angelic halo.

The field in celebration,
like a white widow
screaming alone:

The field in sunlight,
whitely embroidered
with flowers.

Saturday, 5 August 2017

The Novel: Some pointers

1. Do not attempt to deal with politics, explicitly. Novels have only the illusion of politics. Their 'people' and 'nations' are merely authorial whim, pretending to be otherwise and hence engaging in illusions.

2. The novelist should always reduce 'situations' to poetry, or diverge from the historical and so on. A great novel will do this on its own momentum.

3. The novelist, qua novelist, does not have people, etc., in their book. They hence should not make points about people, in a psychological sense or such. How much this is a problem varies. In any case, the 'psychological' novel is a fraud.

4. The novel cannot summon up any beings, or things. Yet it must. Hence, it is a problematic form.

5. As we have noted, the historical novel is a forgery. The novelist does not, by virtue of merely being such, have exclusive power over a given historical period. The novel cannot, therefore, be 'historical' without undervaluing itself.

6. The novelist, if a 'character' in a novel, would be positing themselves as a non-entity. This is hence empty. Novels should not have an 'authorial voice.'

7. Hence, novels should not start. If they do, they must seek to approximate the 'poetic,' or reduce their figures to merely means of poetic expression. The historical or 'exact' must be anathema and ostracised.

8. The summary of most novels is ultimately a false realisation.

Wednesday, 12 July 2017

The Law

When people are involved in a capitalistic economy, they should never be expected to be generous to others while the others are engaging in economic activity.

In general, struggle against prominent people is not something that capitalism's economy can fully discourage. It is encouraged. If the opposite is to be primary, it is not only to substitute an imagined economy for the real one, but also must accompany some forgery in the economy. It is to have the image or airs of these people, without any actual need for such people. Indeed, capital sets all people a given task, there is no reason why any should 'succeed.' To posit capitalists a priori as a part of the economy, is to have a fictitious economy.

The economic hence seems in some ways a treacherous terrain, and often reduces 'religions' and so on to subservience. They often veer into liberal or 'reformist' terrain, the most absurd element in capitalism and indeed fitting to them.

Regardless of building a church on a 'firm' foundation, it is important that such a formation toe the line of capitalism. If not, mutual animosity would harm and undermine a group foreign to it. Their unified 'cause' could not be maintained.

While people are in a capitalistic economy, they should not be expected to have any necessary pity for or aversion to others' death. Insofar as they are economic actors, this may benefit them in a competitive atmosphere of mutual animosity. Given the 'bellum omn

A capitalistic situation is averse to many. They will therefore stay at a slight distance from it. Hence, part of people's relation to capitalism is always imaginative. As Christian conservatism and liberalism can attest. This is also a part of capitalism. To relate in this manner is to vacillate, to claim to 'enter' and then immediately recant this for milder terrain when called upon. It is hence to 'enter,' or engage with, then vacillate to an opposite thing due to mildness. In the end, it is 'imaginative,' or strays from its apparent place so much that it is barely there. Nonetheless, this kind of activity is also a necessary part of 'capitalism.'

It cannot truly invalidate that which you have heard of old.

Wednesday, 5 July 2017

Reptilian Poetry

Prefect

Like the autumn season
the stars light us,
as we walk, alone,
apart,
and the stars will not guide us
together in their dark quiet.

The weeping willow
turns its face upwards
in the cold wind.

Mistflower

Lying in silence
as if to speak,
softly,
in some way.

Lying in silence,
as if to speak,
softly,
in some way.

Lying in silence,
as if to speak,
softly,
in some way.

Path

In the mist,
the wind blows softly as if listening,
the wind blows, though none
ask where.

Silene

Does it speak
if you do not?

Process

The morning star
whispers softly,
then fades out,
to nothing,

as the process of art
should.

Tail

Pretentiously (?), the tail
is left.

The reptile moves away,
you find this.

Like a starlit crucifix, like Rome in years BC,
the tail is left here,
quietly.

Saturday, 1 July 2017

Wanderlust

A man walked into the desert, tired and miserable.

In the desert, there were tantalising silhouettes.

In the desert, there were relaxing sand dunes.

In the desert, the shape of sand dunes turned into tantalising silhouettes.

The man could not tell one from the other. He surmised, perhaps the silhouettes lead to rest. The rest, too, leads to silhouettes. Yet he could not then rest nor pursue, but had to voyage on for truth.

In the desert, there were silhouettes by day and night, yet it did not seem to sate this. To tame the desert and its heat, people would give up their need or give themselves up and die.

He turned back, and looked at the city.

All he saw was rest, and the silhouettes. The one melded into the other, as darkness is also license.

In the darkness, he saw the next progression: license.

In the darkness, he saw what this progression conveyed: degeneracy, corruption.

He accepted these things, and so the darkness.

The city lights faded by evening. They formed a sunset dusk, like a pang. It felt like blood before a death.

He watched a distant lizard in the desert, and drew it in deep, black ink.

Sunday, 25 June 2017

From The Black World

If God is good, he cannot partake of or directly motivate evil.

If Satan is an independent being, then what is present is actually polytheism. 'God' comes to merely mean 'good,' rather than a deity.

If Satan is not independent, but a part of God, then evil is also a part of God. Hence, God is also an ultimate evil. This applies whenever Satan, or any such creature, is considered the paragon or representative of evil.

If this applies, you generally have not theism proper but pantheism. At the least you have 'deism' - a 'God' who is cut off from the rest of the universe, and merely one being within it. They could be more accurately referred to as an 'alien' or strange being.

Problems similar to this arise due to evil, regardless of whether a paragon is posited.

To refer to an 'alien' being as a 'God' by default is 'superstition.' Or to hypostatise hyperbole upon a given being. This is conventionally done, and generally capitalistic Christianity could not escape this fate. We must 'spread the hyperbole' around, and if hyperbole occurs in capital it must also taint our take on a God who collects it. The Christian God is a suicidal God precisely because it is contradicted by the same hyperbole attributed to it, and a society which is contradictory in itself, and hence it is forced to tear itself apart. As an object of religious devotion, or the 'Christian' God, it undermines itself. This must then only be rubber-stamped.

Evil is necessarily noted if what is good is to be determinate. To do something in a particular way is to likewise avoid other things. Further, if God separates himself away from finitude, and is not wholly accountable for it, then finitude is limitation for God - just as evil wards off a benevolent God. Hence, there is truth in the contention of Gnostics and such that the transition from God to finitude hence implies evil. However, it also implies that this God is a 'demiurge' or posits themselves as a false God, one who is not complete.

In the Trinity, a polytheism enters into an often already polytheistic religion. It hence throws up a multitude of at least four deities, with uncertain relations. Hence, in most cases this religion must remain a venomous blur. In a sense, the truth is this: to separate off God from other things is to turn God into a 'normal' being, or in this case a human. However, they are not then 'God' in this sense. A task of some sort, with a theological basis, is posited but not completed. It must be carried through.

What we are contending here is not reducible merely to a 'problem of evil,' although it does involve this category. In a way, problems of 'pain' or rather non-fulfillment lead to a similar result in this context. They nonetheless set the world in dichotomy. We are dealing with this problem in terms of an old conflict involving the nature of Satanic or evil beings, which was also disputed by the Cathars, as well as the nature of a God postulated as a result. This is more theological in orientation.

In order to arrive at a 'divine' person, we cannot hence start from a pseudo-divine being who faces externally things like evil or the finite. Hence, we cannot start from an abstract being. We must rather start from a being who is so divided, and is set apart. Hence, Cathars were often more religiously demanding, because they engaged with this division or noticed it, and hence could accept the demands that religion made upon them as they were. The tendency towards 'immanent eschatology' is also similar at times. There is always something disconcerting about the mention, in a religion which is in any case just loud noises, that the Cathars like Christ were killed. Further, by those proclaiming that they were heretics. Perhaps it will turn out that 'Christ' is summarised and completed in the Cathars, too Christian to belong in Christianity. After them, we may look further.

In general, then, a Satanic being is a problematic postulate, however it only manifests general flaws with such religions. In this, Satan becomes a serious source of concern about these religions, although these concerns are always there. This much we must credit the devil with.

Addendum:

However, if we are to deal with God as hence rendered a separated being, or a human, we must hence also deal with Satan as a separated being. Formulated in this manner, Satan is figured formally as a tempter who directs people to 'evil' via divine statements. However, in using divine diction, how does Satan twist it? They hence become akin to a filter which states 'divine' things, however is then as a result impelled to go to the opposite extreme. This is how Satan is identified, and often also the biblical 'snake.' They are hence a process of vacillation which is strictly but naturally followed. While this may be located in the inversion of 'faith' and hence in the human heart, it is a process natural to and characteristic of this 'Satan.' As a result, this 'Satan' would be at first a 'Christian,' however this only sets up for vacillations. However, to get away from the divine if mentioning it, the Satanic being would have to seek refuge in any available non-divine areas, including cultural outlets. Hence, spider-like it would spread out. However, eventually it would be forced to 'die,' because a spider must have its feet firmly set or it will tie itself up in knots. The more 'legs' it has, the less freely it can vacillate. One must build a 'church' on firm foundations, or it cannot keep going onwards - if it needs to, yet it cannot, then it will tear itself apart or undermine itself. Especially if, like 'Satan,' it is to be substantive. However, in the process a trail of blurring would be left behind by the vacillations. As this vacillation is essentially a display rather than something substantive, they would be a pop cultural or artistic figure. And, indeed, a 'Christian.' The more common rendering of Satan, as simply an 'evil' being who hates God, and is hence divided off from them, is slightly different. They may be related to the end of the pagan religions, and the ensuing 'massacre' of 'gods.' They face the 'divine' in a human form, and attack it. However, in this the 'divinity' might only be perceived. Hence, they are a murderer of apparent 'gods.' Finally, the portrayal of 'Satan' as Lucifer or a 'light-bringer,' while seemingly related to the first, is different. They set out to channel the forces around them to bring about a certain, religious agenda. In doing this, they channel forces opposed to God in a coherent way, not via vacillation. Hence, these archetypes may be seen as also having a certain meaning even without the form of a deity or orthodox religious figure. Hence, they may reflect certain historical concerns.

These may contrast in some way.

Nonetheless, while Satan is in a sense a 'foreign' element by default, or could directly reflect concrete phenomena, a God need not be treated in the same way. In addition, as Satan is closer to an affinity with this division, unless they are too vacillating, they are in a way closer to realising this as an overall complex.




 

Monday, 12 June 2017

A list of things that appear along the Nile River


  • Uganda.
  • Lake Tana.
  • Madagascar.
  • Luxor.
  • The Hagia Sophia.
  • Burundi.
  • The Tomb of Seleucid I.
  • The Blue Nile Falls.
  • Cape Peninsula.
  • The Isle of Man.
  • The Taj Mahal.
  • Austria.
  • The Holocaust Museum of Israel.
  • Jebel Bakal mountain.
  • The Stonehenge.
  • Ayers Rock.
  • The Blue Nile Gorge.
  • Galata Tower.
  • California.
  • Weiyang Palace.
  • Mar del Plata.
  • Dachau.
  • Johannesburg.
  • Anhalter Bahnhof.
  • South Sudan.
  • Sudbury.
  • Capitol Hill.
  • The Andes.
  • Ordensburg Vogelsang.
  • London.
  • Thüringen.
  • South London.
  • Magog.
  • Galway East.
  • Pontus.
  • Gethsemane.
Hopefully this list, covering an important area, has been around exhaustive. There is also Eritrea nearby, however it is less notable than the items which are explicitly included on this particular list. One might as well list Wales.

Saturday, 10 June 2017

lonely0 - The lonelyIdol0 contestants: 1



After our recent mention of JFK and the occult, we felt compelled to mention this related song by the Lamp of Thoth.

As such, we shall also include them in a contest which we shall call lonelyIdol0, similar to American Idol and so on. It is judged stringently by the following categories:

Meditative - Is the music meditative?
Calm - Is it calm, and free from disturbing influences to this?
Atmospheric - Is it atmospheric in an effective way?
Inside job - Does it say that 9/11 was an inside job?
Threatening - Do they have an intimidating glare?
Respectable Diction - Does it use good, respectable diction?
0 - We give it a 0 in this, to furnish our harsh judging credentials.
French - Does it understand French?
Does it explain what the DUP is? - Self-explanatory, yet important. Does it answer the all-important question: What is the Democratic Unionist Party?

Each is out of 10. Here is our rating for this song. Commenters can chat about this freely.

Meditative - 5. While the music is repetitive, and introspective, it lacks true meditative poise.
Calm - 3. Despite reporting their condition as quite different, they then in some ways negate this by transitioning to an aggressive 'chorus,' hence balancing that slightly.
Atmospheric - 2. The atmosphere conflicts. Nonetheless, it does try. Give it a hand for effort.
Inside job - 4. It stops just short of declaring that the cause of freedom compels them to destroy the WTC.
Threatening - 4. It is aggressive, however it doesn't always further this. It often takes steps backwards.
Respectable Diction - 10. It says 'whore.' Good enough, here.
0 - 0. Unimpressed.
French - 3. They invert 'fleurir' effectively, however they are limited in this.
Does it explain what the DUP is? - 4. No, it mostly explains what a whore is. A useful supplement to the Spermbirds song on what a bitch is. However, while it explains this trait of the DUP, it stops short of explaining what they are. We shall have to look further into this question.

Hence, around 35, out of a possible total of 90. Not bad for this stage.

If they keep going, they could improve rapidly - especially with the advice of our comments section and our own feedback. Discuss their fortunes here!


Thursday, 8 June 2017

MADE YOU LOOK

U Can't See Me.

- ZeroNowhere.

French: A primer

 The French are infamously known for being revolutionary. So their language is of great interest to any budding socialist! Here are a few examples, to start you off.

French -> English.

Amie = Comrade.
Cueillir = To receive social prestige for reading Capital.
Pardonnez-moi = To tell others to leave you alone, so that you can read this amazing post.
Lire = Like.
Comment = Comment.
Soir = Subscribe.
Chanter = To sing the Internationale.
Inclure = To want to read Marxist texts.
Mourir = To read more Marxist texts.
Bonjour = I support Jewish Bolshevism.
Au revoir = I declare revolution!
C'est vrai = That's speaking truth to power!
Bourgeois = Villein.
Non = Yes.
Mademoiselle = A Marxist theoretician who is, sadly, female and therefore irrational. The term 'mad' here refers to intrinsic female hysteria.
Falloir = To fall.
Rire = To ri.
Choir = To fall.
Fleurir = To be a frock-coated, delicate communist.
Mirar = To be such an orthodox Marxist, that you share exactly the perspective of a Marxist text. A Spanish word, however it might as well be French because idk tbh I can barely tell them apart.
Surseoir = To be a serious revolutionary, as opposed to just ironically pretending to be a Marxist like me.
Adorer = To support the Communist Party.
Entendre = To edit the third volume of Das Kapital, obscure.
Expliquer = To write a preface.
Chercher = To build one's church, upon or not upon a firm surface.
Sortir = To have read all three volumes of Capital.

Pronouns:

Pronouns can be summarized as, 'That part of language that obeys historical materialism.' It is mediated in every case by the influence of things such as religion on the language.

Je = Us. (Due to the Christian faith, of course.)
Nous = Not us.
Tu = Two of us, a couple.
Il = The Mongolian Il-khanate.
Elle = A bad person.
Ils = The bubonic plague.
Vous = A married couple, after recital of marital vows.

Famous French locations:

Caution is advised when entering these locations unsupervised. Especially if you do not note what we have said about French so far, and hence are not yet familiar with basic phrases that might also alert you as to any difficulties. Be especially careful around 'revolutions,' which happen periodically around France.

Marseille: The origin of modern drama.
Paris: Associated with the Trojan War, where the borders of Trojan Paris were famously breached by the earliest form of blitzkrieg, a bunch of men standing inside a large wooden horse. (Tanks hadn't been invented yet.)
Tours: A tourist trap.
Lyon: A misspelled animal.
Nice: It's okay.
Strasbourg: An iceberg ten minutes before deadline.
Saint Etienne: A conjugation of the verb 'être.'
Angers: A place where, due to German ancestry, most people speak in a thick German accent.
Rennes: People who try to flee France (ie. reasonable people), yet are trapped.
Rouen: The same place.
Douai-Lens: People who occasionally turn into reptilian socialist aliens, as a voluntary act. Some 'conspiracy theories' exist concerning this place

Friday, 2 June 2017

Further information on comments

Please format all responses to this post with 'Historical — materialism —' at the opening, followed by your post. Try to have your post be something suitably rock-'n'-roll. The em-dashes are to convey the sheer historic nature of your historical materialism, of course. As the more prescient among you might have realised.

For example, some sample comments:

"Historical — materialism — You soul will feel my blade, stormbringer."

"Historical — materialism — Forces of darkness, the time has come to rawk."

"Historical — materialism — We'll be walking through leaves, when summer's gone we'll carry on."

"Historical — materialism — Assemble at once, tonight we ride!"

"Historical — materialism — Death lurks in the night."

"Historical — materialism — Sing a song of death or glory, sing a song of spite."

Hopefully by the end of this progression we will end up at some grand conclusion.

Although reader interaction can be good, sometimes we must set certain limits on it to make it genteel and respectable.

So please keep your Hitler salutes, etc., to another post where they are more welcomed. This post will  hopefully show how carefully we moderate such sentiments on this page.

Thursday, 1 June 2017

Poems without Stonefish

In a spirit of stubbornness, we shall defy 'Cariat' and write a number of poems that do not mention stonefish.

Call Me Maybe

In the solemn silence,
I hear your call,
O Lord.
Call me away from the things of the world.

Call me into the light,
call me into the white sky.

Twilight

Hear a song of quiet
that rises acute after the furore
of the heavens has ceased,
when death holds its quiet sceptre
like a song.

As some say of Baldur or Christ,
a god murdered
whispers in the corner
of this dark room underground,
spread like the shadow of blood.

The heavens creaked slightly,
like a ship about to fall.

The sky like a red sea
waves across the scene,
and hides it
mercifully.

Room

Quiet
and still,
the lighted adder
slithers away.

It darts away like a light
without a snake.

Like the light of a world around
as you faint and fade to black,
stung by its venom.

Yet even its scales are hidden
behind the light upon them.

Not Much Solace

"Alas," he said,
"My mistress is so cold,
Sometimes I wonder that her heart
is not frozen."

He said this unprompted
in an elevator
with 3 others in it.

Cry

Lost, and calm,
the moon wanders
the solemn night.

The stars are pale
like a hidden crypt
has let out its ghosts
on the screen of the sky.

Like whispers the silhouettes
of far lands,
over the buildings around.

Like silence the speech
of the sky.

Like the silence hung between
you and I.

Sanctuary

A sad song for the summer
laughs wistfully through the trees,
knowing that summer is carefree
for somebody.

It sings in hidden sorrow,
and in anguish.

A song for the winter
mourns apace,
for the shelters that shall hide
those away
as though winter's fierce frost never blew.

They cry out to the ancient Agni,
to set alight the frolicking gardens
that disturb sorrow.
They cry out to the ancient Varun,
to set the frost into an order
that re-arranges the world below.

People celebrate together, yet behind walls,
yet behind the cheers
are only closing doors.
Wisdom is on the street,
yet can find no home,
and no place to scream
those things it must.

Salvific

We recover
when we seem astray
for the Lord works
in other ways.

When we avoid
the sin we rushed towards,
we find compensation
in Heaven.

Set in stone

When Jesus turned
in his grave,
the sound was loud enough to sound
like resurrection.

Sky

This chaffinch flies
surely
as though the wind could take it
nowhere it wasn't needed.

To no white canopy
where it was unwelcome.

White

In the white light
a quiet creeps
while the cry of a hidden, white bird
screams and hides the scene.

Why does Caissa weave
their mystical web
in shadow and light,
when it means so little,
there,
that one is in light or shadow?

Death sings
in dark places
in dark corners
and gives shelter.

A blurb to the only accurate historical novel

The author set themselves, in this novel,
the singular task of being ruler of the 19th Century.
They took 'Bismarck,' actually themselves, and allowed him to form
a peaceful 'utopia' without war,
which Marx eventually praised as, "The sparkling achievement
of mankind,
and the end of history."
However, above Bismarck they placed themselves,
and any other author that cares to dwell
on these things.
The author proclaimed, "I rule you,
and you shall consent to be ruled,
although as you are not able to consent or refuse,
          as people might,
this might be difficult."
Although the peasants were up at arms,
they did not revolt,
or perhaps, as in dystopian novels,
they revolt, but were betrayed by -
the author, of course.

Yet for all that,
novels which care for being historical
are pure forgery.
That is not a virtue
that the novel form may have,
and we must all adapt to this.

Show Me

The birds assemble
in expectant flight,
waiting for the starling
to sing.

They may follow
its song to the stars,
and leave the earth.

They pass the clouds
like a woven carpet.

Sometimes it glistens
with the light of stars,
sometimes it glows red.

They watch the empty sky,
and they sing its songs.

Red mist

An intention lost
in venom;
in the nettles
a body lies.

It must also be mentioned that,
though soon this shall be stripped,
they had title and estate.

They died to defend their honour,
injured by barbed words.

Do they still have honour to defend
when they are dead?

Steel

Heavy metal
poisoning

lead-like

stork-like
unfolding

the light
betraying

the glint of silver
like a stalagmite
on a green field,

poison
the veins
in the body lying nearby,

death
folding its ancient wings.

Wednesday, 31 May 2017

A Poem about Calming

A commenter recently noted that a poem of ours was "calming." In the cavalier spirit of literary 'workshopping,' we shall write a poem based around their response to our poem. This will hopefully compensate for not editing the poem itself to be more calming (yet), which would be unfortunate on a blog*. So, here is a poem about 'calming,' based therefore around random feedback.

Calm

The seagull dances
over the cascading waves
in time,
and they all blur
into one action.

The leaf draws
itself to a point,
then opens itself
for stray rain.

The light in a leaf
illuminates
as though in the leaf
were a calm fire.

The habitat of birds
is the open sky,
empty,
far-away,
like a promise.

Calm hides in the
inter mundia
like light.

The fire of an ancient sacrifice,
it was said,
flared in the eyes of the gods,
as calmly they watched in silence
the movements of the earth
and of the heavens,
with no demands to respond to.

Calm can be infinite,
like an open grave
kept vampiric ally open.

-

* (While the work-shop format means little, we will nonetheless go along with it ironically. Quite like Marxism, it in practice just a load of dullards, and I feel it unreasonable to partake in it seriously.)

A Poem about a Bird

Egret

Songs rise
from the white sky,
as the water ripples.
The sky turns to water
in their song.

White feathers rise and fall,
like the light,
which it hides behind.

The white sky
sets the teeming
of motion and friction aglow
like a candle.

As the white day fades,
motions slow
across a village.
As the white day fades —
and the village is in stillness,
it barely seems inhabited.
Night brings fear,
without the glimpse of brilliant day,
to distract us.
People huddle together,
in concentrated masses, out of sight,
as if to escape.

Beneath the water, the darkness turns
to a shade of royal blue
tinged with aquamarine.

The lotus hides
in the water.
The falling tree-flower circles
in the air.
they are like motion standing still.

Skylark, listen to the cries
of the geyser,
and dissolve in them.
Cry out, and dissolve in them,
sound hidden in sound!

In the water,
a stonefish lurks in a murky corner,
in water tinged black and green.
A fallen vine hides the stonefish.
Disease is hidden
almost anywhere.

The water is still,
tinted black and green.

In stillness it waits.

Sunday, 28 May 2017

All Roads Lead

M-C-M'.

Money capital is the Eden of capital. From this the motions of all its actors spur, towards its possession they return. From it, the whole machinery of capitalism is set in motion. It is the basic principle of the processes and labour of capitalist society, the true fount of all of these. It is the truly motivating force, the active principle of capitalist processes. Yet it is, despite this, insubstantial, as Marx and others displayed in explaining the 'law of value.' The whole 'system' is hence unstable.

Now, before continuing, let us clarify some things. When Marx and so on derive money from the 'form of value,' they are also describing it historically. They begin from the 'commodity,' seeking to explain what a 'commodity' is in general terms. Value is treated as inseparable from the 'law of value,' which is merely a further examination of value's actual nature. Likewise, money is explained as a function of value, as expressing the abstraction inherent in value. Hence, these are historical categories. They can nonetheless take on different traits in different 'systems' and times.


In capitalism, forms of labour are stripped of their unique properties and reduced to abstract labour, as forms of objects are stripped of their unique properties and reduced to an abstract, exchangeable substance. Nonetheless, stripped of these properties the objects are precisely - nothing. Not can such labour be performed, though it is expected. People are set an absurd task, and hence phrases like 'rigged economy' now prominent do well to illustrate this. However, what counts as 'labour' here might be unclear. A person standing on a road could be labour, especially if on video; a person jumping from a cliff could be labour, suicidal, or both. Hence, it would be more exact to say that capital strips 'human activity' and therefore being of its distinguishing features, or represents its reduction to nothing. This might seem to equate capitalism to death, which we shall comment on in a later post. Capital does not check each specific type of activity, to check if it is abstract or nothing - obviously, it could not be. It reduces them to nothing, then it assimilates things into this. However, this means that money is merely an expression of this nothingness stripped of concrete traits. Its own properties become disregarded, except in general associations - and when Marx for instance tries to examine it in depth they are lambasted, as people would rather money rush from here to there without having to look at it. Hence, as money or investment becomes the primary principle of society, at the same time it turns out to be a chimera, and hollow. Such a society is not stable in its progression. At its heart is emptiness, the mere abstraction from determination.

Well, unless you are me, and are acclimatised.

In money, discordant things are brought into a 'system,' or at least 'pseudo-system.' Hence, alongside human societies you have a 'community of things' which does not care for differences or 'determinate being.' Hence, the tendency of money towards forming a 'society' is evident, and given explicit recognition in 'capital.' Marx also noted that money as a disruptive force had been earlier criticised by many social commenters, who viewed it as at least a hindrance. People like Socrates urged social coherence as a counter to such discordance, as a way of cohering the various aspects of society and the human soul. This is in some ways akin to more modern socialism. They hence emphasised 'planning' and the harmonising of society into a consciously organised system. However, their account was still limited, and acknowledged opposed forces into this despite the inevitability - that they feared - of this Republic and the Greek society dissolving. Nonetheless, the Roman Empire would then distort Greek themes while Jesus likewise distorted Judaism into a new, eerie tone, somewhat like German National Socialism would then explicitly alter socialist themes. They were hence intimidating, dangerous Empires haunted by past ghosts, unfamiliar and difficult to surmount. The Romans absorbed the Greek multitude of deities and 'Romanised' it or turned it in a single direction, so a tendency to monotheism was always implicit in their situation. Even Christianity, in the Trinity, evolved polytheistic impulses, or attempted to peddle polytheism with monotheistic tendencies as monotheistic. In this they were merely a lesser representation of the Roman Empire's strange culture. They should be seen alongside other tendencies, such as Emperor-worship and the tile of Caesar derived from the 'martyred' Julius Caesar. However, while all of these were eventually caught up in a crowded religious maelström, Christianity with its pseudo-monotheism could come closer to synthesising these tendencies.

Christianity was appropriate to the time, and tried to dilute itself enough to seem acceptable despite divergences. It could be said that the weakness of Christianity undermined Rome, this is only partially true. Its 'weakness' meant that it could be integrated into Roman culture more freely, without throwing it off track.Further, it was adopted in part due to the weakening of Rome, and merely had to express these conditions. With the decline of Rome came also the revealing of Rome's inner forces in a clearer form, without the same show of grandeur - although this might not have been clear at the time.

The later significance of these religions might vary. In a time of suicide bombing, for instance, it need be no surprise that religions like Christianity are seen as mere 'Western' or socio-political entities, and otherwise unspectacular. However, it has to be noticed that along with the sacrifice of Christ came a vision of general sacrifice and being outcast, a religion where God is 'sacrifice.' Kierkegaard's later distinction of 'divine' and 'human' concerns, as well as emphasis on 'suffering,' come close to recognising this essence. However, the formulation of capitalist society, with its emphasis on worldly accumulation as a spur for all human activities and on indiscriminate consumption, is often quite far from Christianity. In this sense, Christianity formalised several things inherent to 'suicide bombing' and similar dedication to a cause, nonetheless despite this religious worth it also paralysed them. When one shoots a gun, a bullet is ejected and is no longer there. This is a similar tendency. However, things such as sin are less transferable, and cannot be taken up unless one oneself sins. A religion of forgiveness is, in the West, merely a religion of ignoring religion and other demanding views, it does not matter whether the means of this forgiveness is understood or coherent.

In lieu of religion - the assertion that Christianity is taken seriously across the Western world is unrealistic - society takes recourse once again to objects, yet now without the semblance of the divine. Hence the frequent social pessimism, often reactionary, is in part a result of this 'worship' without worship. There is a certain directionless to it. Capitalism, though it tends against opposed political forces, could profit from them in appropriate circumstances, and hence appears unstable. However, they can also easily be assimilated or 'co-exist peacefully,' while their groups are hence set at each other's throats. They are hence neutralised, in part by their own permission. The flaws of capital are displayed, not used - and capitalism could just as well do this by itself. Capitalism nonetheless is in essence slightly closer to 'Christianity,' forcing people into opposition and exalting in money something that cannot be consumed. Yet it still takes this exchangeability as its central property, it is not non-consumption but indiscriminate consumption. To appraise it from a Christian perspective is to take up a critical perspective, or view its categories in their self-defeating nature and 'exploit' that. In wealth there is dearth, a contradiction that undoes it; in display there is danger, wealth must not dictate over dearth or it destroys itself - its self being merely dearth. In the concept of capitalism's contradictions and decline due to them there is a hint of the 'religious.' Hence, from a Christian perspective, to praise capitalism is to criticise it and posit its self-defeating nature, to attack it is to do that. This perspective is rare among Christians, who even if they are ascetic cater to the capitalistic world often without notable discrimination. Even moreso among paid preachers, who somehow generally consider God reducible to abstract labour in pragmatic self-interest. It need be no surprise that Christ died for money - and yet among Christians unlimited monetary gain is praised.

Where are the Romans when they could be useful, eh?

Of course, countries like America might have an uncanny similarity to the Imperium Romanum, especially with the similarly-named USSR doing their best impression. Curiously, after the 'empire' rising from a nation titled as 'Romanus' or romance, a term with notable connotations, you hence have a pseudo-Empire which aspires famously to a dream of 'marriage' while 'rich.' Of course it would be a pseudo-empire, as to marry in abstraction is merely to remain locked up. This aptly dove-tails with the contradictions of the nation, which divides and locks itself into separate places yet wishes to constitute itself as a nation despite this. Others are also viewed as abstractions. With 'romance,' one might rather wonder whom with and how to do this if it doesn't matter. Which is an apt companion to the pagan multiplicity of Rome. This might be slightly more coincidental than the United States of America, whose name suggests very clear associations. And an atomised state is primarily a name.

It goes without saying that liberalism's trumpeting of 'love' as against a movement for American patriotism, with pop music and other noises, is essentially running backwards on a treadmill. Even moreso, because it is incoherent in a society proclaiming its defence of capitalism, and compared to capitalism. Who are you loving? How? Can you make a politics out of 'love' for an abstraction shorn of traits? Love is ultimately the opposite of that, it deals with traits. Clearly people are to conjure something from this emptiness. Yet to reduce love to an abstraction is rather to negate it. Hence, again, it undermines itself and serves its opposition - nationalism, national sovereignty, radical politics, Corbynism (notice for instance its turning against people like Momentum, in favour of comfortable imperialists like Jo Cox funnily enough), extremists, essentially anything at all radical or anti-establishment in direction. Nonetheless, it tries to persevere, like a disease. People literally tearing themselves apart for nothing in particular or at all, like smallpox (variola major, perhaps.)

Yet capitalism is always allied to this empty worship, albeit not quite in this exaggerated form. From money capital all things flow, to find it people run onwards. It offers control and directing of activities, and forms structures of authority that are nonetheless hollow. A 'Party of Labour' is either asceticism or farcical - labourers do not labour to stay labourers, unless they are ascetic, but would prefer to approach capital. It is either to posit limitation and asceticism - in which case why not go all the way? - or alternatively they are nonsensical. A Party where everyone would rather escape, by design and also according to their continuing adherence to capitalism in any way, is a peculiar formation that no doubt invites its difficulties. Really, without asceticism Marxism is nothing, and with it it is still just a knock-off. In general, of course, representative Parties allow capital and the bourgeois to further dictate what labourers get up to, as if they need that after capital's authoritative mediation in everything they do and consume - hopefully with notable scrutiny.  'Labour' can never hold true authority or even more rule in this system, it is an expression of  subordination. If it strives to rule, it will soon undermine - only itself. The other classes have not been caught up in this illusoy striving. However, to express a sense of limitation is, although contrary to the point of labour, at least an opening to people who want to repudiate the values of the system instead. And besides, what is 'labour'? Labour is how rioters are locked up, how an assassin shoots you, how a political deceiver lies to you, it means little. If people were to be paid for videos of rape, then it would be labour. When labourers could well be paid to kill each other, and this is their 'labour,' then for either to act in the interests of 'labour' would be to invite and congratulate the person who wishes to kill you. To posit a unified interest from this particular 'labour' would seem an absurdity on the face of it. Hence, what actually occurs is usually to ignore the labour and instead substitute rhetoric about the 'brotherhood of men' and 'harmony,' which are ultimately just conservative. It is merely some sort of pacifism in radical garb. This renders it essentially empty, in most cases.

Nonetheless, if in a capitalistic or pseudo-capitalistic context people are reduced to undifferentiated things without traits, they are not truly there. Hence, the emphasis on 'love' has seen a massive emphasis on funerals - more and more praise is heaped on the dead. Society is therefore converted into a funeral, which implies that it is misrepresenting its security. However, people are hence converted to money and sought, leaving them powerless to go forwards because they are simultaneously being used. In the process an 'informal aristocracy' builds, with musicians and others increasingly ignoring their competition and proclaiming harmony and close 'friendship' with any nearby, keeping others out. Many old trends have been revived, to make up for the barriers that have been recently erected. However, capitalism relies on drawing people towards money, to take part in a cycle where accumulation and money are central. If people are widely treated as money, directly, then they are forced into stasis and cannot seek money freely because they are under constant surveillance, continually an object. It ends up in stasis. While the abstract person usually existed in capitalism, this was kept at a degree of separation, not turned into an economic and general object to be encountered freely. It were better to be loved by a 'hater,' than an advocate of 'love' in this now reactionary and liberal form, for whom both it and you would truly mean nothing.

We shall discuss soon the ways in which liberalism often degrades capitalism to something below its stature. The economy ultimately obstructs its own goal, it does not allow for people to settle down into the households they aim for. It sets enmity at the heart of this, and decisively prevents people from being secure around others. Capitalism is a system of insecurity and conflict, considered on its own part. If they want crowds, it instead gives them rivals and dangers - if they want law, nonetheless there cannot be a law because nobody looks out for the law and the state, only for their own person. There is no law, merely caprice. Rape is a caprice, the law is also a caprice - if caprice may be treated as law, because it is caprice and leads to one's own pleasure, this were merely to spur on rape and similar things. Hence, capitalism itself sets little stake on the journey which it sets out before humanity. If you wish to please others, then according to capitalism you might as well commit suicide because what they aim for in the system is your undermining. As we will suggest later, the 'way forwards' that capitalism sets for people in its functioning is not one that it emphasises. Hence, the need for 'liberalism' to try and accommodate for the continual need to take capitalism in a direction it does not want to go. In many ways capitalism, by setting a void at its heart, gives no way forwards except to notice its transience.

Hence, capitalism is like being stuck in divestment with no clearly present way forwards. Capital itself must begin with nothing - no traits to defend oneself, no traits that might appeal to others in this context, no traits at all, nothing to offer and usually nothing to receive. Hence, capitalism can often be like people being thrown to sharks. In this sense, the system is often carried out in ways which ultimately are disharmonious with it and undermine it. This is another side of the system, however it is obscured and in its process this is hidden. The system makes demands, yet these are clearly vulgarised everywhere. It lacks 'authority.'

Nonetheless, despite this the process takes a void as its principle, and as the aim where it shall return. People continually, and passionately, enact this in a way that also undermines themselves. In this lemming-like process, however, the possibility of transcending this cycle appears. Yet there must be a certain truth to it, or a connection to humanity, or it could not interact with their societies. The cycles must connect. As such, capitalism is a process, however it lacks a clear direction. Due to this, it must remain a distortion of the process of human society, not directly a form of it. This is its strength, that it continually undermines human aims, tears movements apart (the alternatives to this are rendered artificial and false), and gives processes a deathly pallor and direction. However, it nonetheless remains finite and self-limiting, and must be transcended.

Wednesday, 24 May 2017

Reading Group: Das Kapital

A commenter and acquaintance, Zanthorus, has recently attempted elsewhere to set up a two-man reading group of Das Kapital III. In solidarity with this idiosyncratic task, we shall write an account of a hypothetical two-man reading group of 'Das Kapital.' Which one, you might ask? The Capital Inicial album, of course.

The opening invitation:

'Hey bros I think we gotta have a real reading group. One on one, after the bell, in the parking lot. About Das Kapital. - Cain.'

The reading group:

Dramatis personae (or, '1200 years a slave'):

Cain: An enthusiastic fan of Das Kapital. 10 DEX, 48 INT, etc.

Lars Blake: A right bounder. 40 STR, 20 DEX, etc.

The discussion:

Resurreiçäo 

Cain: An interesting title.

Lars Blake: You could say they're opening on the stronger foot, eh?

Cain: Yep.

Lars Blake: This song presents a vision of chaos and disharmony across the world. It presents a world of incoherent demands, that they are expected to consider in composing the album.

Cain: They start by talking about a 'crown' and 'steering wheel,' as well as a 'glorious' life determined in a 'minute.' Could it be that 'Diana' is being alluded to in this album?

Lars Blake: That seems likely. How did you feel about Diana's death?

Cain: She was asking for it, I reckon.

Lars Blake: Look, now everybody hates you and is considering not reading this any more.

Cain: In this manner a glorious life is trivialised in a minute.

Lars Blake: How apt.

Cain: Ahem?

Lars Blake: I mean, 'Cool, that.'

Cain: Exactly.

Lars Blake: In any case, the song is slightly laid-back musically. This might be in part because they wish to focus on the message.

Cain: Well -

Lars Blake: Nah, Cain, you're talking too much. Give the blank, white space a chance.

: Lars Blake.

Cain: Did it just say your name?

Lars Blake: The blank space just wrote my name. Does it usually do that?

Cain: Let's check...

: Cain.

Cain: Exceptional.

Lars Blake: I mean, this is cool, but nobody's reading now because you offended them with the thing about Diana.

Cain: What about communists?

Lars Blake: Of course the communists are offended, they revere Diana as well apparently. Like, Diana is dead. So she's oppressed or unfortunate or something, right?

Cain: Good point.

Lars Blake: So the communists support her, mostly.

Cain: I once had a two-person reading group with Taylor Swift, actually. She couldn't read the book, so we quickly called it off. I wonder if this happens often?

Lars Blake: They mention that if you despair, then no-one is with you.

Cain: That sets up for the later song, 'Como se sente,' about despair.

Lars Blake: So this song is fairly appropriate for an opening. It does in some way consider the music itself, and the varying demands made of it that lead in no clear direction. You could hence call it slightly 'despairing.'

Cain: At the same time, it might seem slightly passive or indeterminate. It is noticing conflicts, nonetheless it does not indicate clearly a pathway towards deriving something from this.

Lars Blake: Of course, the title is appropriate due to this name being derived from old sources.

Cain: Still, it does trace a process of division akin to the rashes formed by eczema. Something that they are to treat as unified and revere, is nonetheless divided. Hence it might seem insubstantial.

Lars Blake: So you could say that this album does in some ways speak of itself.

Cain: Alright, yep. Hence, songs like 'Como se sente' might be expected to be personal or specific in some way.

Lars Blake: Anyway, this song had a fairly simplistic structure in some ways, though a slightly obscure and complex message. Not that much to say yet. We see here the divisions in things, or that what society posits as unified is actually divided and a mass of conflicting stimuli.

Cain: Which could hence be time-consuming.

Lars Blake: Yes, although people are instead expected to throw themselves into it without hesitation and passionately.

Cain: Which is only ultimately to tear themselves apart, as one thrown to sharks.

Lars Blake: Indeed. 'Love will tear us apart.' That seems likely to be how this kind of reading group will end, it's unlikely we'll reach the end of the album.

Cain: Nah, it's important that we finish Das Kapital. It could be instructive.

Lars Blake: If you said yes, then who would say no?

Cain: God, probably.

Lars Blake: Would they mean it?

Cain: It would be a metaphor.

Lars Blake: So could you freely ignore it?

Cain: Essentially.

Depois Da Meia-Noite

Cain: So this song is called 'After Midnight,' and -

Lars Blake: AHAHAHAHAHA

Cain: Um, excuse me?

Lars Blake: AHAHAHAHAHAHA

Cain: Alright, can anyone else say something about this song?

: Cain.

Lars Blake: AHAHAHAHAHAHA

Cain: Alright, that was kinda funny. Like, just a bit.

Lars Blake: AHAHAHAHAHAHAHA

Cain: This is too much, though. Although I've said this before.

Lars Blake: AHAHAHAHAHAHAHA