How to Hunt Pandimensional Lizards FFS 2012
I'd join FFS, I have a talent for pissing off all kinds of entities.
Check out more from FFS 2012
Tuesday, June 17, 2008
How to Hunt Pandimensional Lizards FFS 2012
Genesis P-Orridge: The Reversal of Fate
All images begin in mirrors and end inside our subconscious. All conscious
mirrors crack and cut; Seep blood and stain our dearest outfits. Sitting in one
position, head crookedly balanced on our knee, the muscles tremble and
shake involuntarily. We are left physically and mentally corrupted, nearer to
the mortality we are trained to fear and ignore. To encase in the concrete
of acceptance by our peers where it can do us no harm. In describing society,
its behaviour, its grandiose stupidity, we can be motivated by compassion
and despair coloured by not a little sarcasm and cynicism. Yet in every
picture there is enervation and texture that rely upon a resented CARING for
its composition. Framed by our own paranoias, framed by conditioning,
framed by false witness and the theft of all pieces of silver, we kiss the
cheek of the land that bites us. Receiving in return nothing. Butter nothing
is why we came here, nothing is what we so awkwardly strive and fight for.
Nothing is our very precise confrontation with form and reason. It's easy to
forget nothing and hard to describe it. What was it the old slug breeder in
the mud once said in a moment of lucidity:
"The expression that there is nothing to express, nothing with which to
express, nothing from which to express, no power to express, together with
the obligation to express."
Creative action, destructive action to express a perception of the weird
phenomenon of being alive tries to illumine, clarify and describe some
part(s) of human experience, it tends to achieve long-term relevance to
individuals couming into contact with it by trying to grasp, or even form,
the values that guide that experience in a given age, or in this case "SECTOR
OF TIME". And whilst "Time is that which ends" culture, for better or worse,
it is that which does not. And thereby lies the endless trick. Unlearned and
unsung, denying explanations, butter avidly seeking them. The mirror
receives our staring gaze and we melt quite gently and sink away leaving a
smoky, cloudy effect, like bleach spreading in water. To cleanse our guilt we
must describe our fate, objective war zone correspondents using the aural
language of everyday life to define our subject. Shattered or not our message
remains neither fixed nor dogmatic, merely frozen moments of a deeply
personal interior reflected outwards into every living room that hangs this
sheet of magick upon its tatty wall. For a day, or forever, it makes no
difference. True value never changes, it remains in the only real sense,
constant, because only time has a constant value, and time is the medium of
art.
"Nothing is more real than Nothing"
Human experience is, unfortunately, butter stimulatingly, the experience of
nothing and the only reality it knows is the inability to interpret itself and
its mythically inherited structure.
After the accumulation of too much history we have lost our innocence, we
cannot easily believe in any explanations. We describe rather than feel, we
touch rather than explore, we lust rather than adore.
So there you are...or were...
Genesis P-Orridge. London June 1986. Esoterrorist
mirrors crack and cut; Seep blood and stain our dearest outfits. Sitting in one
position, head crookedly balanced on our knee, the muscles tremble and
shake involuntarily. We are left physically and mentally corrupted, nearer to
the mortality we are trained to fear and ignore. To encase in the concrete
of acceptance by our peers where it can do us no harm. In describing society,
its behaviour, its grandiose stupidity, we can be motivated by compassion
and despair coloured by not a little sarcasm and cynicism. Yet in every
picture there is enervation and texture that rely upon a resented CARING for
its composition. Framed by our own paranoias, framed by conditioning,
framed by false witness and the theft of all pieces of silver, we kiss the
cheek of the land that bites us. Receiving in return nothing. Butter nothing
is why we came here, nothing is what we so awkwardly strive and fight for.
Nothing is our very precise confrontation with form and reason. It's easy to
forget nothing and hard to describe it. What was it the old slug breeder in
the mud once said in a moment of lucidity:
"The expression that there is nothing to express, nothing with which to
express, nothing from which to express, no power to express, together with
the obligation to express."
Creative action, destructive action to express a perception of the weird
phenomenon of being alive tries to illumine, clarify and describe some
part(s) of human experience, it tends to achieve long-term relevance to
individuals couming into contact with it by trying to grasp, or even form,
the values that guide that experience in a given age, or in this case "SECTOR
OF TIME". And whilst "Time is that which ends" culture, for better or worse,
it is that which does not. And thereby lies the endless trick. Unlearned and
unsung, denying explanations, butter avidly seeking them. The mirror
receives our staring gaze and we melt quite gently and sink away leaving a
smoky, cloudy effect, like bleach spreading in water. To cleanse our guilt we
must describe our fate, objective war zone correspondents using the aural
language of everyday life to define our subject. Shattered or not our message
remains neither fixed nor dogmatic, merely frozen moments of a deeply
personal interior reflected outwards into every living room that hangs this
sheet of magick upon its tatty wall. For a day, or forever, it makes no
difference. True value never changes, it remains in the only real sense,
constant, because only time has a constant value, and time is the medium of
art.
"Nothing is more real than Nothing"
Human experience is, unfortunately, butter stimulatingly, the experience of
nothing and the only reality it knows is the inability to interpret itself and
its mythically inherited structure.
After the accumulation of too much history we have lost our innocence, we
cannot easily believe in any explanations. We describe rather than feel, we
touch rather than explore, we lust rather than adore.
So there you are...or were...
Genesis P-Orridge. London June 1986. Esoterrorist
CIA Agent in Houston Shot Dead. Chasing "Suitcase Nuke?"
CIA Agent in Houston Shot Dead. Chasing "Suitcase Nuke?"
Also check this article, which circumvents the bullshit in the video.
This might be related along with that B52 missing nukes incident, who knows:
Scott Ritter - UN Weapons Inspector: US cities will have to get NUKED if we attack IRAN
I'm Voting Republican (lol)
I'm Voting Republican
I handle the other side of the illusion of choice in the next post.
Reality-tunnel: How beliefs and expectations create what you experience in life
Check out this great article at http://www.ultrafeel.tv
"The real secret of magic is that the world is made of words, and that if you know the words that the world is made of, you can make of it whatever you wish."
Terence McKenna
"Once the fiction of one ‘reality’ dies as a concept, and the operational fact of ‘realities’ (plural) becomes generally recognized, we might all discover that human beings can actually live together without constantly making war over who has the ‘real reality’.
You create one reality-tunnel at a time out of a phalanx of possible reality-tunnels. You can learn to change your reality-tunnel. You can experience many reality-tunnels."
Robert Anton Wilson in ‘Cosmic Trigger; Volume 2′
Thanks TechnOccult & RealityCarnival
Daily Dedroidify: The Antikythera Mechanism
Daily Dedroidify: The Antikythera Mechanism
The Antikythera mechanism is an ancient artifact believed to be an early clockwork mechanism. It was discovered in a shipwreck off the Greek island of Antikythera, between Kythera and Crete, and has been dated to about 87 BC.
The mechanism is the oldest known surviving geared mechanism, made from bronze in a wooden frame, and has puzzled and intrigued historians of science and technology since its discovery. The most commonly accepted theory of its function is that it was an analog computer designed to track the movements of heavenly objects.
Recent working reconstructions of the device support this analysis. The device is all the more impressive for its use of a differential gear, which was previously believed to have been invented in the 16th century AD.
Answers.com article
2006 article: close to revealing a puzzle concerning astronomical and mathematical knowledge
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