TrueLife - Life against Eternity

Episode Date: April 30, 2022

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Darkness struck, a gut-punched theft, Sun ripped away, her health bereft. I roar at the void. This ain't just fate, a cosmic scam I spit my hate. The games rigged tight, shadows deal, blood on their hands, I'll never kneel. Yet in the rage, a crack ignites, occulted sparks cut through the nights. The scars my key, hermetic and stark. To see, to rise, I hunt in the dark, fumbling, fear. Heirous through ruins maze, lights my war cry, born from the blaze.

The poem is Angels with Rifles. The track, I Am Sorrow, I Am Lust by Codex Serafini. Check out the entire song at the end of the cast. Today you're going to get it good. What are you people? On dope? That'll be quite enough, Mr. Mellon. The sky's been stump since third grade.

You'll be drinking early today. Gentlemen, welcome back to the true life. podcast. You'll be drinking early today. Maybe bribes and kickbacks and mafia payoffs are how you do business. Ladies and gentlemen, welcome back to the two-life podcast. In this time of turmoil and in this time of uncertainty, I bring to you the message of negation and consumption within culture, the ideas that seem to be symptoms that plague us, not only in our daily lives, but in the lives of our parents and in our children. It is the very sickness that we aim to purge from our systems. Shall we live long enough to see a political revolution? We, the contemporaries of those, you believe what you want to see.

As I judge in terms of its present history, you cannot object that its whole history is falsified, and all its present public life does not represent the real condition of the people, people, people. people over here, to the people over there, to the people, the people, the people, people, people, people, people from everywhere watching the show. Paying top dollars because they know when we're on the stage wearing a motherfucking range. So, what up, why don't you get the 12 games? Read any newspaper you want. Convince yourself that we don't stop, and you will concede that censorship prevents no one from stopping. I've been thinking about this, Mr. Hand.

If I'm here and you're here, doesn't that make it our time? You're absolutely right, Mr. Spicolini. It is our time. It is our time. It is our time. Yours, mine, and everyone else is in this room. We certainly did nothing wrong. Did nothing wrong.

Did nothing wrong with a little feast on our time. To celebrate the liberty and national happiness we possess. In the historical society divided into classes, culture is the general sphere of knowledge and of representations. of the lived, which is to say that culture is the power of generalization existing apart. As division of intellectual labor and as intellectual labor of division, culture detaches itself from the unity of the society of myth, when the power of unification disappears from the life of man

and when opposites lose their living relation and interaction and acquire autonomy. By gaining its independence, culture begins an imperialist movement of enrichment, which is at the same time the decline of its independence. The history which creates the relative autonomy of culture, and the ideological illusions about this autonomy also expresses itself as history of culture. And the entire victorious history of culture can be understood as the history, of the revelation of its inadequacy as a march toward its self-suppression. Culture is the locus of the search for lost unity. In this search for unity,

culture as a separate sphere is obliged to negate itself. Culture. Culture. Culture is a hallucination. An identification of ourselves with our idea of ourselves. Or I would rather say with our image of ourselves. And that's the person. They're widgets.

What's a widget? It's a fictional product. It doesn't matter. Doesn't matter. Tell it to the bank. Does it matter? Tell it to the bank. It doesn't matter.

Tell it to the bank. The struggle between tradition and innovation, which is the principle of internal cultural development in historical societies, can be carried on only through the permanent victory of innovation. Let me read that again so everybody can thoroughly understand what it is that is happening in our world today. The struggle between tradition and innovation, which is the principle of internal cultural development in historical societies, can be carried on only through the permanent victory of innovation. Yet cultural innovation is carried by nothing other than the total historical movement,

which by becoming conscious of its totality tends to supersede its own cultural presuppositions and moves towards the suppression of all separation. You play a role. You identify with that role. But I assure you it's a mask. But most of us are taught to think that we are whom we are called.

When you're a little child and you begin to learn a role and your parents and your peers approve of your being that they know who you are. You're predictable. The growth of knowledge about society, which includes the understanding of history as the heart of culture, derives from itself an irreversible knowledge which is expressed by the destruction of God, but this first condition of any critique is also the first obligation of a critique without end, when it is no longer possible to maintain a single rule of,

conduct, every result of culture forces culture to advance toward its dissolution. Like philosophy at the moment when it gained its full autonomy, every discipline which becomes autonomous has to collapse, first of all as a pretension to explain a social totality coherently, and finally even as a fragmented tool which can be used within its own boundaries. The lack of rationality, of separate culture is the element which condemns it to disappear, because within it the victory of the rational is already present as a requirement. You will see the final bottom line requires the factoring in of not just the material and construction costs, but also the architect's fees and the costs of land servicing.

Oh, you left out a bunch of stuff. Oh, really? Like what, for instance? Well, first of all, you're going to have to grease local policy. politicians for the sudden zoning problems that always come up. Then is the kickbacks to the carpenters. And if you plan on using any cement in this building, I'm sure the team should like to have a little chat with you, and that'll cost you.

Oh, and don't forget it's something for the building inspectors. Then there's a long-term cost, such as waste disposal. I don't know if you are familiar with who runs that business, but I assure you it's not the Boy Scouts. So you can be controlled. So you can be controlled. So you can be controlled. But when you act out of role and you imitate some other child's behavior,

Everybody points the finger and says, you're not being true to yourself. Johnny, that's not you, that's Peter. And so you learn to stay Peter or to stay Johnny. Culture grew out of the history which abolished the way of life of the old world. But as a separate sphere, it is still no more than perceptible intelligence and communication, which remain partial in a partially historical society. It is the sense of a world which hardly makes sense. We'll construct our physical plant.

We'll set up an efficient administrative and executive structure. Then we'll manufacture our product and market it. The next question for us is where to build our factory. How about fantasy land? The end of cultural history manifests itself on two opposite sides. The project of its supersession in total history. and the organization of its preservation as a dead object in spectacular contemplation. The end of cultural history manifests itself on two opposite sides,

the project of its supersession in total history, and the organization of its preservation as a dead object in spectacular contemplation. One of these movements has linked its fate to social critique, the other to the defense of class power. the two sides of the end of culture in all the aspects of knowledge as well as in the aspects of perceptible representations exist in a unified manner

in what used to be art in the most general sense in the case of knowledge the accumulation of branches of fragmentary knowledge which become unusable because the approval of existing conditions must finally renounce knowledge of itself confronts the theory of praxis

which alone holds the truth of them all, since it alone holds the secret of their use. In the case of representations, the critical self-destruction of society's former common language confronts its artificial recomposition in the commodity spectacle, the illusory representation of the non-lived. It's a little game that you both play. They pretend they don't see you, you pretend you don't ditch.

Now who pays the price later? You. When society loses the community of the society of myth, it must lose all the references of a really common language until the time when the riffs within the inactive community can be surmounted by the inauguration of the real historical community. When art, which was the common language of social interaction, becomes independent art in this modern sense,

emerging from its original religious universe and becoming individual production of separate works, it too experiences the movement that dominates the history of the entirety of separate culture. The affirmation of its independence is the beginning of its disintegration. It does not include the basic assumptions of your culture. So this is a very impoverished image.

And this confused seeking is going on everywhere. We don't know what we want. The loss of the language of communication, is positively expressed by the modern movement of decomposition of all art. It's formal annihilation. This movement expresses negatively the fact that a common language must be rediscovered, no longer in the unilateral conclusion which, in the art of the historical society, always arrived too late,

speaking to others about what was lived without real dialogue and admitting this deficiency of life, but it must be rediscovered in practice. which unifies direct activity and its language. The problem is to actually possess the community of dialogue and the game with time, which have been represented by poetic artistic works. When art become independent depicts its world in dazzling colors, a moment of life has grown old and it cannot be rejuvenated with dazzling colors. It can only be evoked as a memory.

The greatness of art begins to appear only at the day. dusk of life. The historical time which invades art expressed itself first of all in the sphere of art itself, starting with the Baroque. Baroque is the art of a world which has lost its center. Nobody knows what they want. We think of what we want in vague terms. Pleasure, money, wealth, love, fulfillment. But we don't know what we mean by all that. The last mythical order, in the cosmos, an interrestrial government accepted by the Middle Ages, the unity of Christianity

and the phantom of empire has fallen. The art of the change must carry within the ephemeral principle it discovers in the world. It chose, said Eugenio Dior's, Life Against Eternity. Theater and the Festival,

the theater festival, are the outstanding achievements of the Baroque where every specific artistic expression becomes meaningful. only with reference to the setting of a constructed place, a construction which in its own center of unification. This center is the passage,

which is inscribed as a threatened equilibrium in the dynamic disorder of everything. The somewhat excessive importance given to the concept of the Baroque and the contemporary discussion of aesthetics is an expression of the awareness that artistic classicism is possible. For three centuries, the attempts to realize a normative classicism or neoclassicism were no more than brief artificial constructions, speaking the external language of the state, the absolute

monarchy, or the revolutionary bourgeois in Roman clothes. I have but one question for you. Can you attend my class? It is for your own good, and if you can't make it, I can make you. What followed the general path of the Baroque? from romanticism to cubism was ultimately an evermore individualized art of negation, perpetually renewing itself to the point of the fragmentation and complete negation of the artistic sphere. The disappearance of historical art, which was linked to the internal communication of an elite

and had its semi-independent social basis in the party, playful conditions, still lived by the last aristocracies, also expresses the fact that capitalism, possesses the first-class power which admits itself stripped of any ontological quality, a power which rooted in the simple management of the economy is equally the loss of all human mastery. Also expresses the fact that capitalism possesses the first-class power which admits itself stripped of any ontological quality, a power which rooted in the simple management of the economy is equally the loss of all human mastery. The Baroque artistic creations long-lost unity is in some way rediscovered in the current consumption of the totality of past art. When all past art is recognized and sought historically and retrospectively constituted into a world, art it is relativized into a global disorder, which in turn constitutes a Baroque edifice on a higher level, an edifice in which the very production of Baroque art merges with all its revivals.

The arts of all civilizations and all epochs can be known and accepted together for the first time. Once this collection of souvenirs of art history becomes possible, it is also the end of the world of art. In this age of museums when artistic communication can no longer exist, all the former moments of art can be admittedly equally, because they no longer suffer from the loss of their specific conditions of communication in the current general loss of the conditions of communication. So then the next problem that arises is,

well, what about all the other illusions? What is important? What is not important? What is good, what is bad, what is pleasant, what is painful has to be called in question. Not in order to destroy the whole value system, but in order to see it for what it is. There are two kinds of people in business today, the quick and the dead.

And that is true if you believe it. And if you don't, it isn't. Then let's just say, that is immaterial for the purposes of our discussion here. But if it makes you happy... It includes all kinds of illusions that you're completely unaware of, as for example that time is real, and that there is such a thing as a past, which is pure hoax.

But nevertheless, all these things that are unconscious, consciousness and they are not included in our image of ourselves, nor of course included in our image of ourselves. Is there any information about our inseparable relationships with the whole natural universe? Learn it. Know it. Live it. I know that, dude.