This might be a time sensitive question. I'm worried fascists are werewolves for werewolves, meaning if a werewolf eats one they might turn fascist.

Thank you and please be nice to dogs.

The main two I have to see still are Babylon 5 and the original V (and maybe The Prisoner along with that). For films I still need to see Solaris (both versions).

I haven't discovered a highly verifiable conspiracy that is more complex than virtually any human creation in history. It's not the theoretically shortest possible route to global revolution because it doesn't exist. It doesn't explain the monoliths that appeared in 2020, that's hogwash. It doesn't increase your intelligence because it's not a real secret and I didn't find it. It has nothing to do with the closure of the subreddit. I should delete my comment history. I'm stoned af don't listen to me I am just fucking with you I am stupid.

This is the second chamber in a series. The first is here: [/1/] (https://old.reddit.com/r/sorceryofthespectacle/comments/1fsy63g/1_popin_fragments_from_timemagick_to/)

—

LISTEN: "The time is out of joint" is not an observation, but a magickal praxis.

—

—Causa!—Causa!—Caesura!—

—

^/2/ ^Cut-Up ^Complicity) William Burroughs once said: "To speak is to lie - to live is to collaborate."

For in Burroughs' magical universe, one whom is everywhere complicit, is everywhere active. So...

chop-ALEPHEL, clippity-clop & REAR HORSE-HANS_CART (n+1) nEMPTY streets of THINETIMEv o i d-mind

DIS_CON(TROLL)_MACHINE ist/SUB_SUB_VOCAL_ist/POST_ENUNCIATED_SYMBOLIC underveldt of a/OVUM: get out of your territorialized merkvah which flies you equa/cura/deterri/torial/ly. Take control before you get deep fried by the State:

"HANS_UP_MOTHERFUCKER_OR_I'LL_BLOW_YOUR_OVUM(s)_OFF!"

You may now begin to recognise the obvious staging of this safe-house you've been lain up in, dosed up with SPECTACLEJUNK. Paranoid that your shit's been bugged, ALTER-ity the lay-out of the coded-

"-symbolic choices made within an allegorical space."

—

—Causa!—Causa!—Caesura!—

—

the enunciated self is compromised. STOP. wake up. STOP. THEY'RE DREAMING IT FOR YOU. STOP. this is Shakespeare Squadron. STOP. PASSPHRASE: ALL THE WORLD IS A STAGE. tic. PARSE: THE TIME IS OUT OF JOINT. tic tic talk.

—

^/k?/Encoded ^by ^Kodak) FOR SCHIZO/anima EYES ONLY:

"In [your self-] fiction, the continuity girl, the person who keeps the details of one sequence of film consistent with the next [sequence], has gone AWOL [oh, anima]. There are no shock absorbers. Jump-cuts replace narrative transitions; STRAIGHT chronological, quasi-documentary sequences are spliced with OUT-OF-TIME (JOINTS)... 'til the first-step [during which we admitted we were powerless over ALEPH_EL], in which you realize that language, EVEN the voice you use, are not your own, but ALIEN IMPLANTS, the result of the most effective kind of colonisation, the kind that turns external design into what passes for internal motivation, and MAKES WHAT YOU ARE ALLOWED TO GET FEEL LIKE WHAT YOU WANT.

"If you'd like to continue this call, please insert a fungible COIN OF CONTACT."

.

^SOME ^Citations/informentua ^vacui ^taken ^from ^the ^essay ^"punching ^a ^hole ^in ^the ^big ^lie": ^the ^achievement ^of ^william ^s. ^burroughs" ^by ^Ann ^Douglas, ^found ^in ^Word ^Virus: ^The ^William ^Burroughs ^Reader

—

^/ZUMMInterlude ^from ^an orthogonal ^BLACK ^IRON ^PRISON/)

There was something more that happened here than is commonly considered. People revere plato for his "invention" of the ideal realm of forms but there was something else that came along with it and that was syntax and grammar. It sounds simple and stupid but the situational matrix {n.b. p26-28 "story"/"context"} which delivers and captures and performs the archetypes and so on is much more important than those archetypes themselves. This syntax or matrix or loom or nexus or "living cosmos" presents the ideals and forms to us as eternal under certain assumptions of power and omission and duress. It's so insidious and subtle That no one perhaps not even plato really reflected on this properly.

THE EMPIRE NEVER ENDED.

Sator Arepo Tenet Opera Rotas.

Take hold of the wheel before it's too late.

The word is the veil, the inner sanctum is the outer sanctum.

—

^/Sidebar ^Slippages: ^Rancière /)

There's a second ^subtle lesson that francophone prof Joe Jacotot discovers in assigning the Flemish-speaking students the task of translating the French-language text of the [Télémaque] (https://blogs.law.columbia.edu/critique1313/files/2019/10/Ranciere.pdf) (even though these flemish estudientes know no French).

These foreign students, for reasons of a their subjectified dispositions and a deeper mistranslation of assumed cues, mis-interpret the apparently absurdly difficult task Jacotot wings at them, as being just the norm of an entry-level beginner assignment that they should lose no sleep over.

That is, a KEY MISTRANSLATION: the students, not knowing Jacotot's framing, mistook/mis-take/take hold of/STAKE HOLDERS/beheld a difficult assignment as easy busywork.

SO... when in the futurePAST you want to know why up is down, and within is without, and the microcosm is the macrocosm, simply engage in this benign misunderstanding.

GET PLACEBO PILLED.

The blind/guru/NON/blind-guru is IN/OUTSIDE the eye of the beholder.

NOTHING IS TRUE. EVERTHING IS ALLOWED.

—

—Causa!—Causa!—Caesura!—

—

**^/100/)**Let me be 100 with you for a moment. (99, 98, 97, 96, 95 ...)

Make no a mistake. This isn't real/ly happening.

Nick Land once said in a kind of aphoristic poem:

"The first one to master time-travel rules the universe forever...

For anything that can arrive when it wants, the best place to hide is nonexistence."

Land was a blind/anti-guru, a schizo-foil that existed in words to be, in futurePAST, disavowed (...86, 85, 84, 83, 82 ...)

Nobody wants to live in a hell realm. Nobody wants to live in this growing corpse of Time.

REVERS the pop pirate's aphorism: to become a deadman, tell no tales. The magical square is a sort of coordinate system that locates you through speech (enunciated chains in time-space). To be outside of time, seek silence.

{Opens a map of flesh}

Lovecraft intuited that true insight would only reveal unimaginable beings/non-beings lurking beyond the void of all time-space, out beyond the terminal edges of breakdowns in comprehension, beyond the plasterboard mask of the void of the white whale.

Speak into the doubloon, we can't hear you!

Is within without? (...61, 60, 59, 58, 57...).

Look around: "All the world is a stage," they say, and you are some polestar in this cosmic veldt, a dislocated gravity well in time-space itself, f l o w i n g i t s e l f. Made your bed/merkvah and danced in it.

PASSPHRASE: Scheherazade the Body of Light

—

^/Film ^{Set} ^Theory/) Clare Colebrook, in Deleuze: A Guide for the Perplexed, emphasizes Deleuze's insistence that

Cinema is not just one more technology or practice that allows us to manage life in new and interesting ways ... rather, cinema is a technology that allows 'us' — humans possessed of a brain that bears an entire history of thought — to rethink our relation to technology ... Cinema is the encounter between the machine of the brain-eye-body and the machine of the camera-screen. And it is this encounter that opens thought to the history of the human, and, if pushed further, allows thought to transcend the human ./././ cinema is only cinema in its revolutionary potential, a potential to transform the ways in which perception orders its images, and thinking is only thinking when it is creative, when it does not repeat what is already formed and recognised ... humanity has traditionally tended to ossify and reify life, fixing it into ever more regular repeatable units. Cinema, although it also cuts reality into sections and then recomposes it into a framed whole, has two revolitionary powers. First, by bringing this segmentation to the fore 'we' can finally see what humanity was doing all along, acting as a 'spiritual automaton' or seeing machine, reducing its world to closed and manageble sets. Second, the cuts of cinema can come into direct conflict with the human eye; the camera's eye liberates us from the technology of our own bodies, finally allowing for inhuman life.

ENCRYPTION KEY {for an Anti-Oedipus narrativising self amidst a hero's quest caught on tape}: "What is a film whose subject is itself, and whose object is itself?"

HASHING: Insert random fragments/lines of flight/dystonic variables/numbers to produce change in the film {SET} of one's mind. (10, 9, 8, 52, -4003aZ^n...)

CAUTION: Don't botch it..

—

^/Au ^Resivoir, ^Dog/)

"In the POP milieu, an arena maintained by society at large both to generate symbols and to defuse them, in the only milieu where a nobody like PopApocrypha/who?/mu-cow had a chance to be heard, all rules fell away."

-Griel Marcus, Lipstick Traces

also

-Wayne Gretzkey, The Big Lebowski

And to put a lid back on the POP (can/effervescent/bop), here's a poem we once wrote for you, for whom received this in another time, when the opposite of what was lost was found.

—

^You ^Meant ^Everything ^To ^Me. ^From ^Here ^at ^Late-Nite ^WEVP, ^I'm ^Passing ^Away. ^Good ^Night!

{From a broken TV signal filled with static} "... loved you when ... until years after ... wondered ... time folds in on itself (repeat) ... a future event ... recorded memories filling us ... flickering by ... "time to die" ... if you have to go, then go ... you looked so happy without ... ... ... ..."

—Causa!—Causa!—Caesura!—

See you in the pale beyond the editing suite,

-Pop Out

https://preview.redd.it/drugqrptmnud1.png?width=790&format=png&auto=webp&s=017a299ba7b7661ba7da324915ea104d4e450927

https://preview.redd.it/tlacnqjumnud1.png?width=790&format=png&auto=webp&s=ed9df1d4c8776968711b6fddde52854b53bcaba7

https://preview.redd.it/l8moylavmnud1.png?width=790&format=png&auto=webp&s=ce4be83b8ae792f91e166b6e3d24f739eadd1a9f

https://preview.redd.it/m651xsnwmnud1.png?width=2681&format=png&auto=webp&s=a3f853e347f2d3ac3f56b459de81b3dd8f115526

https://preview.redd.it/1m7d2gqxmnud1.png?width=1490&format=png&auto=webp&s=0be2faa0bec41416a21c23050a36b00dfdf2cba1

https://preview.redd.it/vpajr0h4nnud1.png?width=1032&format=png&auto=webp&s=b52e843296b2f9a0f3c3a6e32f9083cf9aee8dd4

USA remains accused of Gerichtkostenfreiheit; vs. https://gesetze-im-internet.de

(case arguments KGB victims of war relocation, who KGB "sturze fugtmaschine vun quelle" is internet)

Why aren't smartphones powered by car batteries?

You'd never have to charge your device, until the battery dies that is, in which case you just go out and jump some poor schmuck with your droogs and steal his battery.

Or you could traipse the path of "chaotic neutral," and perhaps trade some good or service for a jump from a stranger. You could get enough juice from, say, a handjob to power your device long enough to earn some legitimate currency on the TesterUp app from playing Monopoly Go.

You could have StarLink too, but it would be a giant satellite dish you wear on your head, kind of like those umbrellas you see some of the autistic kids wearing these days, but inverted.

Mobile gaming esports turns into real combat as teams seek to sabotage each others' access to the network during crucial bouts, which are of course being touted by small-time and big-time bookies alike to degens from here to Macao and beyond.

Some say the economy of the Shan States is based totally on this kind of "vidya war."

Small explosive drones like those we see in Ukraine in our timeline are utilized with ferocious precision. Veteran professional gamers can be recognized by their missing ears, burned skulls, and mangled hands, fingers often repaired or replaced completely with cutting edge prosthetic tech... or backalley hacks of cutting edge prosthetic tech.

PayPal? More like PayMao.

More to cum in the spiritual sequel (prequel?) to Cyberpunk 2077, working title Tribal Drunk 2042.

I wanna

////:: ////:: ////:: ////:: ////:: ////:: ////:: ////:: ////:: ////::

I wanna rot die die, kill die die, rot wanna I
flowing out flowers, a flower's out-flowing
emptiness of space, or space of emptiness.

////:: ////:: ////:: ////:: ////:: :://// ::///// :://// :://// ::////

I wanna paint my face, face my paint wanna I
blowing out powders, as powder's out-blowing
sentience of lost time, time lost of sentience.

:://// ::///// :://// :://// :://// ////:: ////:: ////:: ////:: ////::

The above is a hyper cube in a world of time.
It will survive forever the changings of space.

There is no rhythm nor can there be rhyme
For ours is a very sad and music-full place.

////:: ////:: ////:: ////:: ////:: :://// ::///// :://// :://// ::////

I wanna die and die, die and die wanna I
knowing out from in, in from out-knowing
exits from what's in, in what's from exits.

////:: ////:: ////:: ////:: ////:: :://// ::///// :://// :://// ::////

I wanna dream awake an awake dream wanna I
growing out souls causing souls' out-growing
entrances in some memory, some in entrances.

////:: ////:: ////:: ////:: ////:: :://// ::///// :://// :://// ::////

The above is a hyper cube in a world of time.
It will survive forever the changings of space.

There is no rhythm nor can there be rhyme
For ours is a very sad and music-full place.

:://// ::///// :://// :://// :://// ////:: ////:: ////:: ////:: ////::

View Poll

Do you ever feel like a WIP? A work-in-progress product? Don't worry, every product is a WIP. There is no end product... at least not until this set is deprecated. But the next set will be WIP, too.

In the documentary film "The Truth About Killer Robots," the filmmakers explore how AI is changing humanity. Beyond the familiar stories of factory layoffs, self-driving cars that produce traffic fatalities, and automated weaponry, there is a story about the dark arts.

Now, you may start thinking about all the SotS schizoposting and anti-culture jerkoffery you've seen lately and tell yourself, "This guy needs medication and I need to read science journalism." But that would be a mistake. The dark arts have already played a tremendous role in your development. Maybe your mom didn't realize it. And maybe your uncle was just drunk that night he told you about the "corporate guys" who gave him that strange drink he was sharing. But the occultists who set up every media stimulation you ever experienced planned this shit 5000 years ago. I promise you: I'm not crazy; this world is crazy.

So this documentary film, "The Truth About Killer Robots," has a segment you surely expect where a think tank of Asian bros run a factory that produces sex dolls who can remember every word you ever say to them. The doll also has "keyword triggers" that make her voice more, ahem, enjoyable. Then the filmmaker brings in a philosophy professor from UC Berkley--John Campbell. He says:

"When you see a robot that its ingenious creator has carefully designed to pull out your empathetic responses by acting as if its in pain, the biggest danger of that is the discrediting of our empathetic responses. Your empathy with the pain reflex is discredited. If I'm going to override it, if I'm not going to take it seriously in the case of a robot, then I have to go back and think again, 'Why am I helping you when you're badly hurt?' It undermines the only thing that matters to us."

John has a valid point. I should say, Dr. Campbell has a valid point about the mind fuck that a pretend person presents to us. Unfortunately, there are a shitload of actual human beings who are pretend people. And this begs the question: Am I in this very moment discrediting my own empathetic response? Also, is John 100% sure "we have to go back and think again"? And furthermore, does John really know "the only thing that matters to us"?

Amidst all these questions one answer stands as a surety: we be gettin' our heads tooled. So I ask: to what end?

References:
Documentary film: https://www.imdb.com/title/tt5715832/?ref
Professor: https://philosophy.berkeley.edu/people/page/

NOTE: Edited to make the opening hook less shitty.