It is a question of becoming a master over occultation and revelation.
Once one realizes that alethea (un-concealment or dis-closure) is the proper conception of Truth, not veritas (representational verisimilitude), one can make things disappear by becoming a master of what remains occulted and what is revealed or reified from out of that occulted ‘background’ (what Heidegger called abgrund).
– Jason Reza Jorjani, PHILOSOPHY OF THE FUTURE
Artwork: Matteo Arfanotti - The Fool, 2010s / Michael Cheval - Sunset Tango, 2000s / Eugene Samain - The Green Woman,1965
Once one realizes that alethea (un-concealment or dis-closure) is the proper conception of Truth, not veritas (representational verisimilitude), one can make things disappear by becoming a master of what remains occulted and what is revealed or reified from out of that occulted ‘background’ (what Heidegger called abgrund).
– Jason Reza Jorjani, PHILOSOPHY OF THE FUTURE
Artwork: Matteo Arfanotti - The Fool, 2010s / Michael Cheval - Sunset Tango, 2000s / Eugene Samain - The Green Woman,1965
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#13 will be my most devastating book by far. The book that could break the world. Another codename for Lucky #13 is ❌. We are ❌… our name wasn’t “Nikolai.” He went by many names – aliases, pseudonyms – and that was only one of them. But when he signed in blood from out of the fire of his heart, he signed with an ❌. Like no other. https://www.youtube.com/watch?v=uetE5C2Tmfg
YouTube
White Rabbit (Full Epic Trailer Version) | The Matrix Resurrections Official Trailer Song Music
This is not the official Trailer Music. It is a fan-made cover remix with samples from the trailer.
The Matrix 4 Trailer Song Music
follow me here: https://twitter.com/Thewizardx1000
Music Info:-
Original Music: Jefferson Airplane - White Rabbit (Epic Trailer…
The Matrix 4 Trailer Song Music
follow me here: https://twitter.com/Thewizardx1000
Music Info:-
Original Music: Jefferson Airplane - White Rabbit (Epic Trailer…
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“You see that ocean? That’s FAKE.” “Ey Sanda.. you’re outta ya fuckin’ mind, ya know that…” “It’s a FAKE ocean.” (‘Nikolai Alexandrov’ in conversation with an old bum on a boardwalk bench, Coney Island, 1979) https://www.youtube.com/watch?v=2HHc8pNn7x8
YouTube
Depeche Mode - Before We Drown (Official Video)
Official Video for “Before We Drown” by Depeche Mode
Listen to & Download “Memento Mori” out now: https://depechemode.lnk.to/MementoMori
Amazon Music: https://depechemode.lnk.to/MementoMori/AmazonMusic
Apple Music: https://depechemode.lnk.to/Mem…
Listen to & Download “Memento Mori” out now: https://depechemode.lnk.to/MementoMori
Amazon Music: https://depechemode.lnk.to/MementoMori/AmazonMusic
Apple Music: https://depechemode.lnk.to/Mem…
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What if Cylons were to bring a new faith for 'humanity'? What if it were even worse than that? What if you and everyone you cared about had been resurrected by Cylons as a simulacrum, just so that they could understand their own past? https://www.youtube.com/watch?v=6Zms2g0TyDc
YouTube
"A Distant Sadness" - So Say We All: Battlestar Galactica Live
Featuring a haunting vocal solo by Raya Yarbrough, I wrote "A Distant Sadness" for the shocking third season premiere of #BattlestarGalactica. The intense story inspired me to write lyrics drawing from my own heritage as a member of the Armenian diaspora.…
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We will burn these scum off the face of the Earth. Fuck Trump. Fuck Vance. Fuck the State. Fuck the People. We are ❌🔥 #Prometheism https://x.com/TCNetwork/status/1832095048785334355
X (formerly Twitter)
Tucker Carlson Network (@TCNetwork) on X
Russell Brand ends his live tour stop with a prayer.
@rustyrockets
@rustyrockets
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Do you rise from the black abyss or descend from the stars?
Destiny, enchanted, follows your skirts like a dog
- Charles Baudelaire
Artwork: G. Scaccia, 1910s
Destiny, enchanted, follows your skirts like a dog
- Charles Baudelaire
Artwork: G. Scaccia, 1910s
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“The aesthetic is at once primordially ancient and super futuristic in appearance, seamlessly combining high-tech machinic elements with an organic feel that deconstructs the binary between nature and technology. The use of nanotechnological biomimicry was a major technical factor in defining this aesthetic. The predominant style was something like a hybrid of the prescient art of Philippe Druillet, Jean Giraud (Moebius), and H.R. Giger. Both Art Nouveau and Surrealism could also be seen as forerunners of it.
In sum, the sinuously serpentine and curvilinear filigreed designs were a radical repudiation of the putatively eternal validity of the Olympian megalithic style. The Olympian aesthetic embraced by Traditionalists, with its geometrically perfect polygonal brutalism, is inhuman whereas our aesthetic is trans- or superhuman. Ironically, for all of their ‘back to nature’ rhetoric, the Traditionalist structures stand out from, and tower over the natural world, whereas our buildings appear almost as if they are growing from out of the environment. Whether beneath the sea or on an asteroid, our nano-molecularly assembled structures look like coral columns or mountainous rocks that have somehow mutated to exhibit machinic and organic aspects that render them abodes of industrious habitation.”
– Jason Reza Jorjani, ARTEMIS UNVEILED
Art: JRJ with AI
In sum, the sinuously serpentine and curvilinear filigreed designs were a radical repudiation of the putatively eternal validity of the Olympian megalithic style. The Olympian aesthetic embraced by Traditionalists, with its geometrically perfect polygonal brutalism, is inhuman whereas our aesthetic is trans- or superhuman. Ironically, for all of their ‘back to nature’ rhetoric, the Traditionalist structures stand out from, and tower over the natural world, whereas our buildings appear almost as if they are growing from out of the environment. Whether beneath the sea or on an asteroid, our nano-molecularly assembled structures look like coral columns or mountainous rocks that have somehow mutated to exhibit machinic and organic aspects that render them abodes of industrious habitation.”
– Jason Reza Jorjani, ARTEMIS UNVEILED
Art: JRJ with AI
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“The one that made the deepest impression on me, and which I went back to view more than once, was World on a Wire by Rainer Werner Fassbinder. It had originally been made for German television, but one of these art house theaters had gotten hold of a copy that they were screening for small audiences. After the screening, I secured a bootleg VHS tape of the movie and re-watched it repeatedly at home. The film was based on a sci-fi novel called Simulacron-3 by Daniel F. Galouye. I picked up a mass market paperback of the book at the Strand, and I quickly read it cover to cover—twice. The book was also available in an edition with the al- ternate noscript Counterfeit World. I eventually bought a copy of that one as well.
This film, together with the novel that it was based on, did not help my state of mind. I became increasingly convinced that we were, indeed, living in some kind of artificial, programmed, and re- programmable construct. I don’t say, “rather than in reality,” because what was worst about my reflections on the movie and book was the deeply unsettling, even vertiginous, suspicion that it is simulations all the way down and archons all the way up. World on a Wire and Simulacron-3 intensified my interest in the paranormal, even the most lurid forms of it such as the efficacy of Astrology, not because they were evidence of a “spiritual world” but very much to the contrary, because they were clues to the fact that we are living in some kind of computer-programmed construct run by an Artificial Intelligence…”
– Jason Reza Jorjani, PSYCHOTRON
https://www.youtube.com/watch?v=URq7m3-SOtA
This film, together with the novel that it was based on, did not help my state of mind. I became increasingly convinced that we were, indeed, living in some kind of artificial, programmed, and re- programmable construct. I don’t say, “rather than in reality,” because what was worst about my reflections on the movie and book was the deeply unsettling, even vertiginous, suspicion that it is simulations all the way down and archons all the way up. World on a Wire and Simulacron-3 intensified my interest in the paranormal, even the most lurid forms of it such as the efficacy of Astrology, not because they were evidence of a “spiritual world” but very much to the contrary, because they were clues to the fact that we are living in some kind of computer-programmed construct run by an Artificial Intelligence…”
– Jason Reza Jorjani, PSYCHOTRON
https://www.youtube.com/watch?v=URq7m3-SOtA
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- Excerpt from an interview with Voltairine de Cleyre, Prophetess of the Fire. March 1894 -
Interviewer: "What do you think is the object of life?"
Voltairine: "Progress. The development of the human race. I want people to know more. If in their search for knowledge they meet with unhappiness, it is a good thing. If they meet with unhappiness, it is their fate. They cannot escape it. It is true I am a pessimist, but I do not think we were meant to be happy. We are merely the cogs in the wheel of a mighty evolution, which moves around slowly and steadily until its work is over."
Interviewer: "And what will happen then?”
Voltairine: “Ah, that is the great goal of the race. What it will be, no one can tell. As the human race progresses and becomes perfect I think it susceptibility to unhappiness will become keener. Conditions that do not exist today, or, if they did exist, we would look upon the indifference, will add to the unhappiness of the race in the future. As I said before, the progress that I believe in, is not toward a happier life. It it is towards a perfect, an ideal life, in which men and women will be as gods, with a gods power to enjoy and to suffer.
It may be that this progress will merely be a race for unhappiness and the sufferings of one generation may increase the sufferings of the next. But they will make it easier for those that come after them to strive for that goal to which, even without their cooperation, the great, unconscious forces impelling human kind. Here, I will show you a little poem I once wrote in which I expressed my idea better than I can do it now.”
The poem which she produced read as follows:
A Soul, half through the Gate, said unto Life:
“What dos thou offer me?” And Life replied:
“Sorrow, unceasing struggle, disappointment;
after these
Darkness and silence.” The Soul said unto Death:
“What dos thou offer me?” And Death replied:
“In the beginning what Life gives at last.”
Turning to Life: “And if I live and struggle?”
“Others shall live and struggle after thee
Counting it easier where thou hast passed.”
“And by their struggles?” “Easier place shall be
For others, still to rise to keener pain
Of conquering Agony!” “and what have I
To do with all these others? Who are they?”
“Yourself!” “And all who went before?” “Yourself.”
“The darkness and the silence, too, have end?”
“They end in light and sound; peace ends in pain,
Death ends in Me, and thou must glide from
Self
To Self, as light to shade and shade to light again.
Choose!” The Soul, sighing, answered: “I will live.”
____
Artwork: Filippo Tommaso Marinetti - A Tumultuous Assembly. Numerical Sensibility, 1919 / Raoul Hausmann - ABCD, 1920s.
Interviewer: "What do you think is the object of life?"
Voltairine: "Progress. The development of the human race. I want people to know more. If in their search for knowledge they meet with unhappiness, it is a good thing. If they meet with unhappiness, it is their fate. They cannot escape it. It is true I am a pessimist, but I do not think we were meant to be happy. We are merely the cogs in the wheel of a mighty evolution, which moves around slowly and steadily until its work is over."
Interviewer: "And what will happen then?”
Voltairine: “Ah, that is the great goal of the race. What it will be, no one can tell. As the human race progresses and becomes perfect I think it susceptibility to unhappiness will become keener. Conditions that do not exist today, or, if they did exist, we would look upon the indifference, will add to the unhappiness of the race in the future. As I said before, the progress that I believe in, is not toward a happier life. It it is towards a perfect, an ideal life, in which men and women will be as gods, with a gods power to enjoy and to suffer.
It may be that this progress will merely be a race for unhappiness and the sufferings of one generation may increase the sufferings of the next. But they will make it easier for those that come after them to strive for that goal to which, even without their cooperation, the great, unconscious forces impelling human kind. Here, I will show you a little poem I once wrote in which I expressed my idea better than I can do it now.”
The poem which she produced read as follows:
A Soul, half through the Gate, said unto Life:
“What dos thou offer me?” And Life replied:
“Sorrow, unceasing struggle, disappointment;
after these
Darkness and silence.” The Soul said unto Death:
“What dos thou offer me?” And Death replied:
“In the beginning what Life gives at last.”
Turning to Life: “And if I live and struggle?”
“Others shall live and struggle after thee
Counting it easier where thou hast passed.”
“And by their struggles?” “Easier place shall be
For others, still to rise to keener pain
Of conquering Agony!” “and what have I
To do with all these others? Who are they?”
“Yourself!” “And all who went before?” “Yourself.”
“The darkness and the silence, too, have end?”
“They end in light and sound; peace ends in pain,
Death ends in Me, and thou must glide from
Self
To Self, as light to shade and shade to light again.
Choose!” The Soul, sighing, answered: “I will live.”
____
Artwork: Filippo Tommaso Marinetti - A Tumultuous Assembly. Numerical Sensibility, 1919 / Raoul Hausmann - ABCD, 1920s.
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