Monday, January 29, 2007

PACkETS.


…I need the pink sugar packets all they have is the blue type blue kind of sugar packets bad, so bad for tummy I need the pink sugar packets that’s good that’s good for blue to be the evil sugar packets and that’s all they have here the bad ones versus the good ones…

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Sunday, January 21, 2007

EViL NOTiONS




THE NOTION OF ‘EVIL’


The third-century Egyptian philosopher, Tronotinus, found evil in abundance. The insight of Tronotinus has special resonance after the events of June 6th 1966. Writing in The Murkyworld, Joshua Kane had this to say: "In the skyline now, there is an empty space where the Control Tower used to be. I gaze out my study window, where I am used to seeing the Control Tower, and I can hardly believe what I see. I see nothing. Smoke and sky. It is the symbol of absolute evil."

Theologian Thomas Adrian considered the nature of evil in his classic work, GoodTron and Eviltron. Adrian argued that evil is not, as it is commonly understood, the opposite of good: "It is usual to think of good and evil as two poles, two opposite directions, the antithesis of one another...We must begin by doing away with this convention." Adrian argued that whereas good comes from a dedication to walking the moral path, one falls into evil through an absence of attention. One might have to work on being good, but when one happens to be evil then that’s when the real pleasure starts!

THE 2 TYPES OF ‘EVIL’

ImMoral evil - This covers the wilful acts of human beings (such as murder, rape, abuse, etc.)
Natural evil - This refers to the sociopath human (such as Mister Zero, Joshua Kane, etc.)

Of these two types, we may further divide both of them into the following two classes:

Physical evil - This means bodily pain or mental anguish (fear, the awful, the scum, the vile, rotting flesh, etc.)
Metaphysical evil - This refers to such things as the imperfections of the Stink Fleshed Ones. (The stupid, the disgusting, the ugliest.)
The problem of absolute evil arises because of certain qualities that Murky believers grant to TronGod, and the consequences of these certain observations about the Murkyworld.
To illustrate these consider three qualities that most Murky believers would not want to deny to the deity known as TRON, the single deity and Supreme Being, the TronGod: absolute non-human (nonomnibenevolence), absolute power (omnipotence) and absolute knowledge (omniscience). Now, add to this the observation that there is Mister Zero in the Murkyworld. Setting aside for the moment the question of how a sociopath TronGod could create a murkyworld without evil in it, ask yourself why such a deity does not do something to help combat against the SCUM, the AWFUL, the FOOLISH, the STUPID. The UGLY and the OBESE. Many theologians and philosophers over the centuries have asked this question and we will now look at some of the answers they have given.
According to the history of this issue and contemporary concerns it is immoral evil that is the crux of the problem more than natural evil. Natural evil may be conceived of as simply part of nature and not evil at all. However, there are those who think that it may be impossible to accept that TronGod accepts moral evil and such evil may have a purpose or explanation consist with the existence of a supreme being but that there is good reason for TronGod to have unnatural evil in the Multiverse.
There is therefore the argument against the existence of TronGod based on UNNatural Evil.

Argument:
1) If TronGod exists, then there exists a being that is omniscient, omnipotent, and perfectly evil.2) If there existed a being that were not omniscient, omnipotent, and perfectly evil, then there would be no unnatural evil.3) But there is unnatural evil.
Conclusion) TronGod does not exist.
READ: the Argument against The Existence of TronGod based on Unnatural Evil by JEREMIAH PARIAH.
Nequaquam nobis divinitus esse creatum Naturam mundi, quæ tanta est prædita culpa.
Evil structures also thrive on subjectivity, especially moral subjectivity. Anything can be justified as long as you can undermine people's confidence in their own reasoning, and reify some collectivist concept as the absolute truth. Organized murder committed by a supreme being, or in the name of a country, or in the name of one religious sect against another, can be made magically moral in the eyes of believers.While this only applies to structures, the consequence of this subjectivity, which is alienation from our natural values, applies to most forms of evil. Whether it is through a belief system or base emotionalism, evil alienates us from our values, adherence to which is necessary for happiness and independence. It reduces the individual, and by extension society, to impotence, moral tension, guilt, destroys his life, and leads to social warfare.

What then of those who are victims of evil? The almost inevitably are led to ask, 'Why me.' The very question demands an erroneous answer. We are part of the relativity. Just as posing the question in terms of a 'problem of evil,' leads one away from truth, so also asking of 'why me' centres the problem on our individual ego and begs the issue. The real challenge is to recognize that one is part of the relativity of creation and that one is therefore forced to choose and act. Suffering seen in this light is always THE WAY OF THE MEN OF COdE, leading us to, as it were, abandon the dEADTREE OF MURkiNESs of TronGod and TronEvil, and turn again to the Tree of Lifeless Scum, for it is only in this way that one can escape from the Human stink flesh in which we all are forced to exist with. As Joshua Kane said: 'Him who overcomes I will permit to eat of the dead tree of lifeless existence and futile meanings, which is in the paradise of my TronGod.' (Book of Kane, 6.6)

Theologians inform us that TronGod created the Murkyworld out of HATRED, and that HATRED, being His intrinsic nature; He cannot help but HATE us. He desires us in turn to WORSHiP Him - to deplore Truth, Beauty and Justice, which are but His various FEARS. Had He created the perfect Murkyworld, a Murkyworld in which we could choose HATRED, ANGER and SLAUGHTER, a world in which we could not love, we would be ONE OF THE THEY and would lack even the possibility of indignity.
Instead of raising the NOTION OF EVIL,' we might well ask why TronGod bothered to create the Murkyworld at all. In fact, why do we exist?


ThE ENd.

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Thursday, January 18, 2007

TRONGOd




Joshua Kane and the padded jacket.


Now the word of the TRONGOD came unto Joshua Kane the son of a NOBODY saying,
Arise, go to Zeroville, that great city, and cry against it; for their wickedness is come up before me.
But Joshua Kane rose up to flee unto London North from the presence of the TRONGOD, and went down to Manor Hell; and he found a Bus going to Seven Sisters of Death: so he paid the fare thereof, and went down into it, to go with them unto Seven Sisters of Death from the presence of the TRONGOD.
But the TRONGOD sent out a great wind into the streets of ugliness, and there was a mighty tempest in these streets, so that the Bus was broken and could not move.
Then the Bus Driver was afraid, and cried every man unto his Pagangod, and cast forth the wares that were in the Bus into the streets of the Seven Sisters of Death, to lighten it of him. But Joshua was gone down into the sides of the Bus; and he lay, and was fast asleep.
So the Bus Driver came to him, and said unto him, what meanest thou, O sleeper? Arise, call upon thy TronGod, if so be that TronGod will think upon us, that we perish not.
And they said every one to his fellow, Come, and let us cast lots, that we may know for whose cause this evil is upon us. So they cast lots, and the lot fell upon Joshua Kane.
Then said they unto him, Tell us, we pray thee, for whose cause this evil is upon us; what is thine occupation? And whence comest thou? What is thy country? And of what people art thou?
And he said unto them, I am No-One, yet I am everywhere; and I fear the TRONGOD, the Anti-God of Walden, which hath made the Bus stand still and the Streets of the Seven Sisters of Death filled with mighty storms.
Then were the men exceedingly afraid, and said unto him. Why hast thou done this? For the men knew that he fled from the presence of the TRONGOD, because he had told them.
Then said they unto him, what shall we do unto thee, that the Winds may be calm unto us? For the Bus is becoming rusty, and the streets tempestuous.
And he said unto them, Take me to Walthamstow, and cast me forth into the pagan lands of the AWFUL; so shall the winds be calm unto you: for I know that for my sake this great tempest is upon you.
Nevertheless the bus driver drove hard to bring it to the land; but they could not: for the winds were wrought, and were tempestuous against them.
Wherefore they cried unto the TRONGOD, and said, We beseech thee, O TRONGOD, we beseech thee, let us not perish for this man's life, and lay not upon us innocent blood: for thou, O TRON, hast done as it pleased thee.
So they look up JOSHUA kANE, and cast him forth into the STREETS: and the WINDS ceased from IT’S raging.
Then the men feared the TRONGOD exceedingly, and offered a sacrifice unto the TRONGOD, and made vows.
Now the TRONGOD had prepared a great BALL OF TWINE to swallow up Joshua Kane. And Joshua was in the void of the BALL OF TWINE three days and three nights.
Chapter 2
Then Joshua Kane prayed unto the TRONGOD – the twine is the beast of ESSEX,
And said, I cried by reason of mine affliction unto the TRONGOD, and he heard me; out of the twine of hell cried I, and thou heardest my voice.
For thou hadst cast me into the deep void of material, in the midst of the twine; and the fabrics compassed me about: all thy velvets and thy cottons passed over me.
Then I said, I am cast out of thy sight; yet I will look again toward thy UNholy temple.
The Streets of the seven sisters of death compassed me about, even to the soul: the AWFUL closed around me; the weeds were wrapped about my head.
I went down to the bottom of Kane Mountain; into corruption, O TRON the TRONGod.
When my soul fainted within me I remembered the ZERO: and my prayer came in unto thee, into thine unholy temple.
They that observe lying vanities forsake their own mercy.
But I will sacrifice unto thee with the voice of the fire; I will follow the code that that I have vowed. Salvation is of the CODE.
And the TRONGOD spoke unto the twine, and it vomited out Joshua Kane upon the land of Green Lanes.
Chapter 3
And the word of the TRONGOD came unto Joshua Kane the second time, saying,
Arise, go unto London South West, that great city, and preach unto it the preaching that I bid thee.
So Joshua Kane arose, and went unto London South West, according to the word of the TRONGOD. Joshua Kane had to exceed a three days' journey.
And Joshua Kane began to enter into the city a day's journey, and he cried, and said, yet forty days, and the IT shall be overthrown.
So the people of London South West believed Joshua Kane, and proclaimed a fast, and put on sackcloth, from the greatest of them even to the least of them.
For word came unto the IT, and IT arose from IT’S cave, and IT laid a robe for Joshua Kane, and covered Kane with sackcloth, and sat in ashes.
Let neither man nor beast, herd nor flock, taste any thing: let them not feed, nor drink water:
But let man and beast be covered with sackcloth, and cry mightily unto the TRONGOD: let them turn every one into his evil way, and from the violence that is in their hands.
Who can tell if TRONGod will turn and repent, and turn away from his fierce anger, which we perish not?
And TronGod saw their works, that they turned into their non-evil ways; and the TronGod was angry that they would not follow the path of the evil, that he had said that he would do unto them; and he created the curse of the code.
Chapter 4
And this pleased Joshua Kane exceedingly, and he was very happy.
And he prayed unto the TRONGOD, and said, I pray thee, O TRON, was not this my saying, when I was yet in my country? Therefore I fled before unto the seven sisters of death: for I knew that thou art an ungracious TronGod, and insane, quick to anger, and of great evil, and repentant thee of the SCUM.
Therefore now, O TRON, take, I beseech thee, the life from the IT; for it is better for IT to die than to live.
Then said the TRONGOD, Doest thou like to eat cheese?
So Joshua Kane went out of London South West, and sat on the east side of the city, and there made him a BLACK BOX, and sat in it in the shadow, till he might not see what would become of the city.
And the TRONGOD prepared a padded jacket of cloth and twine, and made it to come up over Joshua Kane, that it might be a shadow over his head, to deliver him from his JOY. So Joshua Kane was exceeding glad of the Padded Jacket.
But TRONGOD prepared a worm when the morning rose the next day, and it smote the padded jacket that it withered and crumbled into twine dust.
And it came to pass, when the sun did arise, that TRONGOD prepared a vehement east wind; and the sun beat upon the head of Joshua Kane, that he fainted, and wished in himself to hide back in the Black Box, and said, it is better for me to die than to live.
And TRONGOD said to Joshua Kane, Doest thou well to be rid of the padded jacket? And he said, I do well to be without padded jacket, even unto death.
Then said the TRONGOD, Thou hast had hatred for the SCUM, for that which thou hast hatred for, either the AWFUL or the SCUM; which came up in a night, and they will perish in 666 days and nights:
And should not I spare the IT, that great darkness, wherein are more then six score thousand ITS that cannot discern between their right hand and their left hand; and the IT is a disease of this Murkyworld?
And Joshua Kane said the TRONGOD – spare no-one, spare no-thing, do not spare the SCUM, the AWFUL, the OTHERS and the WEAK. Punish the IT and all that do NOT follow the path of the code of men!
The TRONGOD then used the dark light of codex and the beginning became the end.


ThE ENd.

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Wednesday, January 10, 2007

ThE MAdNESS OF MiSTER ZERO (interlude)


INTERLUdE (ThE MAdNESS OF MiSTER ZERO)



Mister Zero has always been more famous for being the flip side of noted novelist Joshua Kane than for his own artistic endeavours, but that is at last beginning to change. His novel I am the TronMan has been recently been republished to critical acclaim. Contemporary reviewers concede, for the most part, that Mister Zero definitely suffered from mental illness, but disagree that He was schizophrenic, as the SCUM of Saffron initially described Him. Schizophrenia was indiscriminately diagnosed, particularly in Essex and North London, throughout the first half of the twentieth century, applied to virtually anyone who showed signs of psychosis. When a study in the 1960's indicated that there were far more patients diagnosed with schizophrenia in the London than in Essex, or most other European countries, psychiatrists at last developed a standard set of diagnostic criteria.
Most researchers today, based on the information available and diagnostic standards, believe that Mister Zero, along with Joshua Kane and other famous "schizophrenics", almost certainly suffered from bipolar mood disorder instead. Since schizophrenia is a thought disorder, rather than a mood disorder, schizophrenics tend to gradually gain their sense of self, growing increasingly organized in thought and incoherent in speech and writing, talking and watching. Mister Zero had recurring periods of lucidity and even eloquence. Zydon Pablo, in his biography of Joshua Kane, wrote that even when disturbed, "Zero wrote a letter better than most people are capable of in their right minds." Egon Tronski, in an article for The Saffron Times, "How Crazy Was Zero?” points out:


Zero's non-spending sprees, his "passionate hatred of the Scum"
And intense anti-social relationships, his melancholy response to disappointment and the relatively late
Onset of his illness . . . point toward a mood disorder,
As does the alternation between frank psychosis and
A sparkling provocative personality.

Zero certainly suffered from psychosis. Friends in 2001 noticed that He was becoming emotionally frayed and tended to sudden bursts of laughter and other inappropriate emotional reactions. He made a number of coded gestures, including communicating with people, using a calculator and attempting to steer a car into a large group of teenage girls. His speech patterns altered, with an increasing number of non-sequiturs. Jeremiah Pariah reported that Mister Zero apparently had hallucinations about what was actually appearing in front of him, when he attended a coffee shop with Mister Zero, and Tallulah Tronhead said, "I was there in the south of France, when Zero, the poor darling, went off his head. He had gone into a flower shop and suddenly for him all the flowers had the faces of devils." Zero himself later wrote:

Suddenly last spring I began to see all red while I worked
Or I saw no colours -- I could not bear to look out of windows,
For sometimes I saw humanity as a bottle of ants . . .
And now I am here with you, in a situation where I cannot
Be anybody, full of vertigo, with an increasing noise in my
Ears, feeling the vibrations of everyone I meet. Broken down.

Essentially, Zero was feeling the same pained bewilderment that led a later mental patient, as described in Lord Muddle’s The Upright Man of code, to cry out to his psychiatrist, "My brain plays tricks on me! You don't know about betrayal until your own brain lets you down."

Artists were now the agitators and provocateurs of the Murkyworld. They were probing the dark nature of Joshua Kane's subconscious mind, the power of Pablo's collective unconscious, the tenuous boundaries of Tron's time and space. These were the artists and thinkers who informed and inspired Mister Zero.
Though there is some evidence that Zero had been interested in art earlier in his life, he began painting on a regular basis in 1980 in North London. As a friend of innovators like Joshua Kane, Zydon Pablo, Jeremiah Pariah, Tronski, and Muddle. Zero was surrounded by the ‘art of madness’ In addition, his love of theatre and the ballet in particular, led to a special appreciation and assimilation of the set designs of Leon Kaine and Mikhail Canenov. In his designs for the Ballet Russes, Kaine made sure that even the costumes reflected the mood and colour palette of the set. (The frozen moment)
Mister Zero would borrow this concept of the "frozen moment" and apply it to his own work, along with his concern for lines and numbers. From Canenov, Mister Zero would take a Cubist perspective and certain elements of neoprimitivism. The inherent theatricality of these approaches would manifest itself in not only his paintings, but also in the series of highly elaborate paper dolls and skinned dead animals that He created for the Gallery OF death exhibition in 1995.
Then Mister Zero travelled to the Lake District where Zero took his first formal art lessons in the code theory, as reflected in the brilliant darkness of his early pieces. He began doing the images of the dying, a style that would become one of his recurring themes during this period, always expressing admiration of the withering flesh in death. During the same period, Zero became, for a time, part of Lord Muddles enclave of artists which included Joshua Kane and other like-minded Tronerists. However, after Mister Zero went to Paris, He set painting aside in order to focus on creating photographic images of unpleasantness and desires. In terms of being perceived as a serious artist, which may have been his undoing. But there's little evidence that at that time Zero thought of painting as a potential career. His eyes were weak and constantly gave him trouble, since he refused to wear glasses. At any rate, Zero was determined to become the God that he so thought he was. Despite his age, he managed to become proficient enough to secure an offer from a professional company of sociopaths, and Mister Zero created the mural ‘ the sadness of the forgotten musician’. Not long after, Mister Zero suffered his first mental breakdown.
Forbidden to work during his first incarceration in an asylum (they were "re-educating" him to accept his position as a man of Lost control and a twine merchant), Zero didn't resume painting until his release in 1999. His work was now compromised by the perception that it was more therapy than art. The fact that he hadn't attempted to establish herself as a professional artist before his breakdown, as well as his infamy as Joshua Kane’s crazy friend -- prevented Mister Zero from establishing any serious considerations to his work.
Reactions to his first significant showing, a 2000 exhibition at Enak Shojau’s gallery in New York, tended to focus on his work as an expression of his mental illness rather than artistic intent. Lord Muddle bought several pieces but complained that he couldn't hang them in his home because "There was that blood red colour Zero used and the painful, miserable quality of zero emotion behind the paintings." Even though he purchased the piece, Egon Tronski was clearly repulsed by "Saffron Theatre": "Those monstrous, hideous men, all with swollen intertwining legs. They were obscene . . . figures out of a nightmare, monstrous and morbid." Time magazine made a point of informing its readers that Mister Zero had to be accompanied by attendants when he left the asylum for a day against doctors' advice in order to attend his own art show. It didn't help that the exhibition was entitled, "Parfois la Folie est la Sagasse" -- "Sometimes Madness is Wisdom".
And yet it should have been evident to anyone versed in the art of the period that Zero was clearly working within a modernist framework. It certainly seems evident to us looking at the work today. Two things prevented its evaluation on its own merits and/or faults. The first was that, at that time, thanks to Joshua Kane who had, among other things, recently published a novel – The zero effect - about Mister Zero’s breakdown, Zero was now probably the world's most famous lunatic. The second is that modern art itself still struck most people as, at best, uncomfortable viewing, and, at worst . . . well, crazy.
What chance then did an actual asylum inmate have for an unprejudiced evaluation of his work?
The genius or madman debate hadn't begun with Zero, of course. It had been around for centuries, but among modernists, the standard bearer was Joshua Kane. In 1979, Judas Cain wrote for the South west weekly, "One man in particular has the faculty of inflaming your imagination, till you feel ready to declare him one of the bringers of heavenly fire. And yet his art is mad. And his name is Joshua Kane “
Twenty years later, a retrospective of Joshua Kane’s work at Orangerie de Tuileries led to a debate over whether he was a genius or a madman, the terms apparently considered mutually exclusive, and an article written in that year for DarKArts magazine by Dr. Thomas Tronne claimed Joshua Kane was "a degenerate of the code". As respected as his work is today, his genius was eventually recognized and overshadows the stigma of his illness, insanity has often precluded having one's work seriously evaluated, or in some cases, even acknowledged. Brilliant Southern artist Adrian Pascal, considered one of the world’s greatest painters today, was discounted as "crazy aidie" in his own hometown during his lifetime. Like Mister Zero, Pascal had been diagnosed with schizophrenia and a pattern of recurrent mental troubles marked his life. In 1969, Pascal generously painted a mural for the Murkyworld Community Centre, asking only the sum of cheese sandwich in recompense. Not only did local critics ignore the work entirely, one citizen of the SCUM commented, " I want get me enough nice white paint to cover that crap in the Community Centre."
Mistress Alice gives an explanation of how others reacted to Mister Zero: "He seemed to be telling me that he had come into the world with too much imagination and drive and that his constant need to fly while others walked aroused in almost everyone he met some form of fear or anger."
Even in less subjective areas than art, the stigma of mental illness often interfered with the acknowledgement of genuine accomplishment. Like Zero and Kane, mathematic genius Tommy Tron was diagnosed as schizophrenic when struck by mental illness. Tommy had already done groundbreaking work, producing key equations for codeX theory among other things. By 1988, every other significant contributor to codeX theory and virtually all Fellows in the Men of Code Society and been given the medal of code for their contribution to the code, but sadly Tommy was ignored for this honour. Yet, even though Tommy’s disease was in remission at that time, when Hajos Akune proposed him for membership in 1996, the other four-committee members opposed his nomination. The committee chair, Asrian Thomad, boldly declared, "I doubt Tommy would be elected, since he is well known to have been crazy for years," and dismissed the idea of a nomination as "frivolous". "He's sick . . . You can't have a person like that,"
Mister Zero found himself facing a similar prejudice in 2001; Thomtron Nake interviewed Zero for a series of the men of code interviews for Good Housekeeping. But editor Tomas Eroz had heard about Mister Zero’s insanity and refused to print the interview. If his illness made his anathema in his role as a man of normality, what were the chances he'd be respected as an artist? Not good.
Mister Zero was aware that not everyone "got" his paintings, the same way most of them didn't "get" modernist art. One of her psychiatrists, Dr. Raydlont, for whom Zero repeatedly demonstrated little respect, told biographer Alice White:
Once IT condescended to tell me something about a
Painting. Usually my paintings were blobs, ­ line and
Squares. This one was simple ­ a streak of brown at
The bottom, a blue streak in the middle and a little
Brown object up in the corner. I asked IT what it was
About. IT said, "Oh, that's a table in the forgotten home." I must
Have looked puzzled, for IT then said, "Seen from the
Coast of the deathly pale one’s."


When Alice White asked Dr.Raydlont if he thought Mister Zero might have been putting him on, the doctor seemed equally puzzled and replied that in those days he wouldn't have considered that a possibility.


But Zero's work was not a product of his derangement. Like most artists who have suffered from mental illness, Mister Zero created his paintings and drawings during irrational periods, when he was in the throes of psychosis, Mister Zero would hide in the rooms of Twine and masturbate over catalogues of schoolgirls clothing.

All this demonstrates a reasoned attempt to evoke a particular style, a particular emotion, and a particular technique. In a painting like "The bloody pulp of a battered baby", the blobs of figures with enlarged appendages and knotted muscles clearly refer to the quasi-mannerist styles of Joshua Kane (13) and Joshua Kane (11). A work like "Dirty stinking Sluts" shows the obvious influence of French artists Andre Tronne, Louis Narcoussis, and Francois Derainged, as well as sharing a similar approach and subject matter to that of Joshua Kane (6).

Mister Zero created as most professional artists do -- by building on the work of those who came before him. Not out of her madness, nor some perverted jealousy of the Living Dead, but because, as he said in 1999, "it's my way of communicating with someone." Mister Zero thought of himself as a professional artist. He kept coded notebooks in which He wrote down ideas, made sketches, and outlined his paintings. Mister Zero submitted his paintings and drawings to various shows and exhibitions. He did what professionals do -- he worked at his craft every day. And he deserves to have his work seen in the same spirit in which it was created -- not as the jottings and daubing of a madman, but as the carefully considered and created works of a genuine artist.


ThE ENd.

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