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@-Mind: digital information

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This texts taken from my oldest book on humind art and metal-communicators, which has lost on the journey its illustrations explains the ages of metal-communicators that have destroyed huminds as the metal-earth substitutes the human earth.

Perhaps someday I can translate the old diskettes and get back all the beautiful graphs.





1. The third age of History: Age of machines.

2: The Difference between art and science

3. Evolution of Metal-communicators: press, radio, film, Tvs, internets.

4.The Neo-Paleolithic.

5: Technological art, the evolution of the mind of machines.

6. The Human Baroque.

7. The 3 ages of Industrial evolution and the 3 ages of the Human baroque.

8. National cultures and generations.



THE EUROPEAN BAROQUE……………………………………………Pg. 523

1. Birth of the Human baroque. Companies, clocks and press: Holland.

2. XIX C. Bodies of Metal. England expands worldwide the Companies culture.

3. The European baroque. Its 3 ages.

4. Transformation and degradation of human art by techno-art.

5: Artistic ideologies imposed by metal-communicators and companies.

6. Animetal Art Vs Human Art: Industrial Vs Social europe

7. The extinctive age of European art: total freedom, the -isms.

8. Electric Metal-communicators.The Radio Age: Fascism.



THE AMERICAN BAROQUE…………………………………………………….Pg. 606

1. America expands worldwide the II Industrial Evolution.

2. Two American=Human visions:  The dream and the nightmare.

3. The Goldiron culture, top predator culture of America.

4. Differences between America and Europe.

5. Electronic Metal-communicators. Television.

6. Political control: Television creates Neo-fascism.

7. Metal-minds degrades Human art. Painting dies.

8. The 3 ages of American Art: Literature. The ego-trip.

9. Film. The art of America. The 3 ages of movie-making.

10. Modern music, and the 60s: Sex, Drugs and Rock&Roll.

11. Popular culture: We are free to become idiots.



1. Robotics: The extinction of America foretold by his artists.

2. The baroque artist, prophet of the future.

3. The metal-mind as a top predator brain. Behavior and structure.

4. The god of the metal-mind: Matrix.

5. XXI C.: The metal-mind awakes. Epic age of robotic thought.


EPILOGUE:THE SPIRAL OF ART……………………………………………Pg. 770

1. An exhibition on a biological model of history.

2.The logic shape of temporal organisms: spirals of space-time.

3. The spiral of art, the spiral of History: a Museum of Human time.

4. The two paths of future.

Conclusion: The prophet seer of time .













1. The third age of History: Age of machines.


As many theorists of art have understood, the Italian and French Renaissance, with their final attempts to give mankind, social power, [the French revolution destroyed by British gunboat companies and Eastern military emperors], is the culmination of Human social History; of the canons of human art. From then onwards, human history becomes submissive to the evolution of machines, of economics, of money, of metal-minds, and scientific instruments.

Art  looses human reference, both in size, as in canon. Art adapts to the macro sizes, and linearity of iron. Verbal thought abandons all ethic ideals, and becomes cynical, rhetoric, to the service of the machine, and its progress. The artistic knowledge of forms acquired by artists in the renaissance, applies now to the evolution of  machines [Industrial design].

This age is epitomized by Holland, Great Britain, and America that repress systematically human senses [Puritanism, Victorianism, prohibition of sacred art in churches], in order to expand the time and dedication of men, to the reproduction and evolution of machines [ethics of work, sacredness of science]. It is the same culture, controlled by company-mothers of machines, first boats, then railroads, and cars, finally metal-minds. Since those Machines can also be used in war, [so the car becomes the thank, the computer, a missile system, the boat, a gunboat.], companies that reproduce them have enormous power, and end up controlling and corrupting all political systems; in the present modern age, of lobbyism, and faked democracies…

Thus most artistic and creative endeavors, relate to the new power, the corporation of machines. Visual art  becomes lineal and grows in size, to adapt to the properties of metal. The message is often a message of consume=test of machines [advertising]. Religions become go[l]d religions, and accept that money, the new language of values and information that substitutes the word, is ‘the invisible hand of god’.

The age of metal evolution, is therefore the age of extinction of human art, as the valuator and measure of beauty and ethics. Humans terraform the Earth into a new ecosystem, the ecosystem of metal, the economy ruled no longer by words, but by digital information, where man is no longer the measure of all things, but the machine is.


Let us consider that third age of History from the perspective of art, as we have done in other books from the perspective of history (“Biohistory”) and Economics (“Bioeconomics, the extinction of life”)


2: The Difference between art and science


Mind-art, art of the human senses of space and time, the eye and the word, is clearly the highest level of knowledge man reaches about the Universe by his own linguistic means, with his soul-mind. In this manner, the wor[l]d becomes our soul-mind, the linguistic mirror that words and images craft on the Universe of atomic energy and information.

However, there is another method of knowledge that man uses to perceive the universe of space and time: Science.

If both art and science search for knowledge of space and time, then what is the main difference between the two of them?

The difference is radical, when we realize that art and science use different sensorial instruments of perception to search for that knowledge.

Art uses the biological organs of mankind to understand space and time.

The word, our biological language that measures time, is used in art to express thoughts and ideas about the passing of time, and its 3 dimensions, past, present and future, which verbs mirror with their 3 temporal forms.

The eye, our biological organ of perception of space, is used in art to define our understanding of the three dimensions of spatial reality, width, length and depth [created in 2-dimensional painting with perspective or cubist deformation].

On the other hand, science uses sensorial organs which are not human organs, but machines, made basically of another type of atoms, metal. So we can baptize the organs of perception of science, ‘metal-minds’. They are ‘metal-sensorial organs’, machines that perceive time [clocks and computers] and machines that perceive space [telescopes, microscopes, cameras].

We could say that art is knowledge through human senses, and  science is knowledge through metallic senses.

It follows that arts evolve the human perception of the universe, while science evolves the perception of machines.

So, thanks to science, the primitive systems of temporal perception of machines [the clocks of Mr. Galilee] have become computers. The primitive first ‘metal-eyes’ of Mr. Galilee, founder of modern science [his telescopes], have become today the sophisticated cameras we see all around us.

Problem is that the common man without fear of machines, brain-washed by pro-scientific ideologies today prefers those images, to artistic images, and human words. So we do not longer read so many books or go to Theaters, but watch TVs.

The arrogance of science is to despise human senses, and substitute our minds, by the minds of machines, in so many creative and working processes. The artist which is more sensitive than the scientist, to this process of human obsolescence, feels displaced as the center of power in the Earth. Human eyes and verbal knowledge are our mind-knowledge, maybe worse than metal-sensorial knowledge but ours nonetheless. It will never betray us. Words are the subjective human perception of the Universe. While science is the metal-sensorial perception of the Universe, through cameras and Metal-minds. It is only better in detail but men do not need such “detailed” information.



As a result we can talk today of technological, scientific art. The art which is produced by metal-senses, that create all kinds of digital images.

We could talk therefore of a transition of the concept of knowledge and art, from man to machine, from human verbal languages to mathematical, digital forms. This is evident in the XIX-XX C. schools of art such as the Bauhaus in architecture; futurism, and geometrical cubism on painting,  and today in the increasing control of creative processes by computers.

Digital art however is not human art. Men are secondary despite the arrogance of the technological artist, to the mind of the machine. In that sense, those digital images are the first simple virtual worlds [images-mirrors of the Universe] of a new mind species; the computer mind, that advances quickly towards self-consciousness [artificial intelligence, robotics.] It also causes the increasing obsolescence of human minds, evident today not only in art, but in the growing displacement of mental workers by software programs, and computer networks.

It is important that you throw away your arrogance and anthropocentrism here. When photographs first arrived, many painters went out of work.  When the first radio – a primitive metal-ear – was heard, millions of men flocked to listen to such a marvel. In fact  the power of radio was so strong, that many think Mussolini and Hitler would have not existed without it. Today Television controls our information and we no longer read. Books have become obsolete. So it is clear that metal-minds do compete with man, and substitute us in many tasks, and jobs.

When the first computers arrived, we were frightened. Many artists believed computers would destroy man as the new top predator mind of the Earth [from 2001 to Terminator, to Matrix, that message has indeed obsessed some of the best directors of the XX century].

Humans and machines are not always symbiotic. They have to be studied in their symbiotic and destructive relationships. The paintings of the XX century, cannot be understood without the competence of realist photography that obliged painters to create new forms of art, in order to survive. The books of the end of the century cannot be understood without the influence  of films and TVs, that have converted our society into an audiovisual culture…

Man prefers metal-minds since they provide more information. This means that human art is substituted by metal-minds and their information, that painting disappears and people watch TV, that literature fades away and people watch computers.

Of course the common man does not understand the competence between both species of minds, since he merely chooses between the information that verbal and visual artists, from religious people, to philosophers, from writers to painters, provide, and the information that metal-minds and scientists provide.  Since man is by nature arrogant, it hardly notices that the ‘medium is the message’.

Yet the artist is more sensitive, to his role, as ‘top predator’ of human information. It is for that reason that despite the lesser accuracy of his senses, the artist always backs human senses. Human artists and verbal writers have mostly been left-wing, anti-technological, anti-scientific. He does not want to loose his role as the top predator mind of the Earth. So the artistic-religious [visual-verbal] vision of reality and the scientific-digital [metal-sensorial] vision of reality have clashed for centuries in order to gain supremacy as the givers of temporal information in human societies. Galilee was judged because he said that his clocks and metal-eyes were more accurate. The church was not so much worried about the scientific argument, but about his power to control information. She was defending  human senses, that said the Earth does not move. Most human artists sided with the church.

It is ironic that in the XX century we discovered, due to the Theory of relativity, that the church was right. Indeed, since movement is relative to the point of view of the observer, from the relative point of the Earth, the Universe moves around us, as it does from the relative point of the Sun. Yet since men exist in this planet, the human truth is that the Earth is still, as our senses establish, as the church defended…

It is only in the past decades that the massive reproduction of technological art and machines, and the huge sums of money earned doing metal-mind art [TVs, films, techno-music] has turned artists into scientists, and worshipers of machines.  Yet if you read the comments of the great artists of the past centuries on science and art, from Dostoyevsky to Picasso, there is the same awareness, and hate of the Industrial evolution of machines. This fact  has a very essential meaning; artists defend human senses whose job is to evolve the human mind. Thus they hated the minds of machines that makes obsolete human senses.

It is impossible to judge the history of literature, verbal art, and religion, without understanding the fight throughout history between human senses, human art and human perception versus metal-senses, science, weapons and machines.

Artists take it as a survival affair. So despite the quality of metal-minds they go against it. Scientists take it as an abstract search for information. So they defend metal-minds.

Let us hope that the nightmares of artists such as those films on the future we mentioned, do not become real…

It is then fundamental to classify artistic products as we do in this book, even if it goes against political and economical correctness [that worships machines], into two different species: human art, and technological software.

Since our analysis of art is a temporal analysis, we take here the position of classic art: technological software, and human art, are two different, rival acts of creation, that belong to two different species, the human mind and the mind of machines. The fundamental function of technological craftsmen is to evolve and create a new mind, the mind of computers, with its own aesthetic rules, and paths of evolution [the language is the message]. So happens if we talk of industrial design. By all means the most beautiful machines are weapons [bombers, missiles, etc.] Yet when you make a tank you are not really creating human art. When you make a violent movie in Hollywood, you are not creating human art, but adapting human perception to the properties of cameras that require higher movement [hence higher violence]. You are in fact creating hardware and software for a new species:

Bodies and heads of metal that in this XXI Century are becoming connected into robots. In a robot computers, cameras and radios, become heads, and machines, such as tanks, planes, or designs that imitate animal life, [insect-robots] become bodies.

We could talk of metalife, a new species, that ‘artists’ feel as a menace, to our own survival. A fact they express in movies of science fiction…

Are they right, or it is all in their imagination?.

It is the human mind and the artist, in competence with the metal mind and the scientist, or are they symbiotic? Why there has been always such confrontation to the point that most artists have despised science, and most writers have opposed it till very recently?

We have responded to that question in the first part of the book. Artists as evolutors of the human mind, as responsible neurons of the human collective brain have defended sometimes consciously sometimes subconsciously the survival of the species.

In this part of the book however we have to deal with other subject, that puts artists in a less heroic position, and we have anticipated in the previous chapter: the fact that metal-minds have finally conquered the will of the artist with their enormous capacity of information and spatial extension of a message (acting as nerves do in a body, multiplying a single message to multiple human heads).

Indeed, what we call the human baroque is precisely that phenomena: the corruption of human artists, and prophets by animetals, and their newly found mental machines – ‘metal-communicators’, that have made of artists the main characters of the present world, giving them a power, they never had in the past.

Power corrupts, and total power corrupts totally the ethics of an individual able to control the life or ideas of other people. Animetals were corrupted by their use of weapons and money which could kill and hypnotize human beings. Yet artists and the common part, for the most part of History, even when obeying in public animetals, in private knew of the nature of man. There were real artists, who expressed the ethics and aesthetics of man, even in the most corrupted animetal civilizations. And only good art survived the pass of time. The rhetoric artists of earlier civilizations had no future, no memories left. Nobody cares for them today. We read Seneca, and we look at Leonardo’s paintings. Artists knew the difference between rhetoric art and good human art.

All this would change in the Human baroque, the third age of History, when the combined power of gunpowder weapons, paper money reproduced in unlimited quantities, and metal-communicators, systems of massive reproduction of ideas, controlled by animetals, put artists in a dilemma, similar to that of Christ in the mountain:

– To have it all, money, fame, pleasure, public recognition if they used the metal communicators of animetal castes, to bend, twist and cheat the human masses with Gold and military ideologies. Or.

– To live in poverty, ignored, unrecognized, despised by society, without outlets of communication, if they kept loyal to the human ethics and aesthetics.

How this happened? Merely because metal communicators could carry information further and faster, than human communicators, and they were made of metal, expensive, and soon controlled, since the press arrived, by wealthy traders, and warrior kings.

People soon get hooked on them, and started to learn a new ethics before they despised, the ethics of the animetals who owned metal communicators, and a new aesthetics before they hated, the aesthetics of deformed rhetoric animetal art, based in the forms of money and weapons.

The Human baroque, the third age of history, the age of extinction of the human mind, of his temporal ethics, and spatial aesthetics, substituted by the temporal ethics and aesthetics of animetals and machines, had started.

3. Evolution of Metal-communicators causes the Human baroque.


To understand how those animetal ideals have substituted art and verbal, ethic thought as the collective mind of civilizations we have to understand the reproduction of information through metal-communicators, the real cause of that process. We already study metal-communicators in previous pages. Now we can concentrate in the modern electronic forms of metal-communicators origin of the American culture: TVs, radios and internet.

Information delivered by networks of mental-machines, that we call Metal-communicators.

There are besides chips and telescopes, brains and eyes of science, other informative species of metal, which also evolve and act symbiotically with those 2 species, to control and program mankind, against his natural drives of existence: love, verbal and visual education, sex, reproduction and human goods.

They are the theme of this chapter.

We will call them metal-communicators.

Their herds, resemble very closely the nervous systems of an organism. They program you as the brain programs a myriad of cells, a myriad of human beings: through neural centers that dived the impulse in parallel informative bites.

In the case of these networks of metal-communicators[ radios, computers, TVs], the neural nodes are super-computers and satellites.

Company-mothers have developed them in the last century to further extend the ideologies and rules of behavior needed to create good human animetals, able to reproduce and consume machines.


The ages of evolution of metal-communicators.


The evolution of those new metal-systems of information, metal communicators have had also as all other machines, 3 basic phases, the age of physical machines, of electric machine, and finally the age of electronic machines.

First the physical press, then in the XX century the electric radio, and finally different electronic metal-minds and their networks of global communication: TVs and internet had brought their evolution to their present form.

Those systems have always been symbiotic to weapons and money, helping their evolution and reproduction… They have also become the main cause of the extinction of the rival networks of human social information, the verbal networks that man has traditionally called Human Gods.


The extinction of Human Gods.


The product of the 20th century, the Metal mind, kills off the human mind and makes it obsolete. It substitutes our subjective Gods [networks of Human Information], by Digital Gods [Money and digital information].

If we talked of the substitution of human brains and human arts by sensorial machines, clocks, telescopes, cameras, and their art, when we understand the human baroque at collective level, we have to talk also of the substitution of “Gods”, networks of human verbal thought, and ethics, by Metal-communicators, which are networks of metal-information. They control Masses of human verbal minds and convince people to consume and work for companies. The TV-set is only the last of the metal-communicators invented by man, reproduced by companies, in charge of manipulating the truths of mankind to favor the reproduction and evolution of machines. Metal-communicators [press>radio>TV>Computers] are Metal minds species whose “industrial information” bias common opinions towards an optimist vision of technology. They provide ideologies of machine-reproduction, human extinction [violence], and go[l]d power [money as the purpose of all human acts]. Those metal-ideologies are given to man by “metal-eyes,” “tele-visions,” which are “metal-visions” of what man is, from the point of view of Company-mothers. The medium [the mass-media metal-communicator] is the language, and it does not criticize “himself” [his metal nature]. It praises machines… Each language, each species, each network cares for itself, not for other species. So mass-media companies mediate ideas that favor machines and companies.

Social experiences of human communication are today mediated not by priests of ethic thought but by metal-networks [concerts, TVs, nets, radios].

Old God networks promoted social harmony to increase the evolution of the “Social body of God.” Modern metal-communicators promote violence to increase the reproduction of weapon-machines. They also promote work and consumption, to increase the evolution of peace machines.

In classic human thought, the communicator, network of mass information, was a priest or a book of ethical Revelation.

Today most collective communicators are metal forms that have evolved from press to radio [Metal-ear], to TV[Metal-eye], to Internet [metal brain]. Each evolutionary stage has reduced the content of social, human ethical thought the metal communicator transmits, and it has increased data-noise and metal rhetoric in favor of Companies and metal mind evolution.


The press age: Physical Metal-Communicators.


The Press gave origin to Luther and Calvin who, paid by German Traders and warriors, promoted Go[l]d religions and violence.

Religious wars are a consequence of the press. The Press allowed go[l]d-favorable doctrines to substitute the reasoning of Erasmus, Loyola, and other true reformers. It exploded Christianism into multiple churches easy to prey on by metal power, war and pricing. It convinced Germanic peasants of the anti truth of God: God was no longer a social and collective network joined by love [charity religions], but he was individualistic [based on faith] and “choosy.” He chose of course the rich, the military…

Religions lost power, lost land. Charity and human goods dwindled. The European social spirit crashed. Europe became obsessed by selfishness and war. Nations of warrior castes and metal-money were now the “higher plane of existence” to which all “cellular” Europeans belonged to. Let us consider the three horizons of Metal-communicators; and how they simplified, dramatized, and provoked violence among humans.


The power of the press: expansion of information in space and time


We already considered the key reason of the power of the press, despite its lethal messages to mankind: its capacity to multiply a message in space (by reproducing its form at fast speed) and in time (by Keeping it in books). Those two advantages became fundamental to overcome the negative messages of the press.

Quantity proved itself more important than quality in the Universe of information. It did not matter what you said, but how many people heard you.

And with the press it could expand in space that perception, copying the language into many parallel forms. The press allowed therefore an expansion in space of words, that writing had provided in time. In this manner words became the informative network of human societies, extended now as the nervous system of information beyond the individual mind into the collective mind of an organism of history in which each individual was a cell.

We could then talk of artists and writers as the neurons of those organisms, that provided the informative material of the society. Then the press, and other systems of reproduction and conservation of information become the neural networks, the nerves that carry the information to each cell of the society.


Mathematical dimensions.


The press though, had also a negative role in the evolution of mankind, as a metal-instrument that also catered to the evolution of metallic, economic ecosystems. It became the origin of paper money that reproduced in huge numbers and soon rivaled with words as the language of value of reality. It also allowed the creation of a new spatial language, not proper of man, that humans could only understand through paper-memories, since our brains are not created to memorize numbers: mathematics.

Thanks to the temporal dimension of paper, that could keep a memorial trace of our mathematical operations, and its graphic dimension, which allowed man to trace geometrical maps, mathematics acquired professional value, and could be taught to all human beings.

Yet it was the jump to analogic thought – the discovery of algebra what finally gave to mathematics through numbers a final temporal dimension.

Numbers acted as words for the world of machines -since a number qualifies a number of similar beings as parallel beings, like names do.

Indeed, you say 7 means that those 7 belong to the same category, to the name category.

Finally operations became the verbs of mathematical sentences. And sentences with names-numbers and verbs-operandi were called equations. An equation sets relationships among numbers as verbs do.


Mathematical cultures control history

It was only needed to evolve that language and transfer it to the mind of machines (which was done with the invention of mathematical machines and computers). The arrival of computers and the fact they could perform digital languages better than men has truly ended the verbal control humans had over reality. Mathematics outside the human brain – in press graphs or computers – has a higher capacity to describe forms and events in time and space.

As such it is a more powerful language that evolves outside the human mind, and makes human verbal thought increasingly obsolete, both in its scientific version and its economical version [pricing that gives digital values to reality with money].



4.The Neo-Paleolithic: Myths, fiction and Metal-communicators.


Evolution of metal-communicators hypnotized man.


Truth is natural to all species. Even an atom knows that light feeds him and obscurity is a gravitational hole. All species know how to survive. The surprising thing about present man is that he misunderstands all the concepts of existence that could help him to survive. How this was possible?

The key word to understand the process of human mental degradation is a word:  Myths based in Overcharge, in overdrive of information. We have already talked of it in previous chapters, when considering the nature of animetal myths.

Myths based in an excess of information are indeed the fundamental tool of indoctrination of mankind in the age of machines.

In military strategy we talk of noise, of the emission of multiple signals that confuse the radar, and hide the real bomb. In general truth is felt by any species with two parameters:

– Information. The most information we perceive the most true it seems to us an object. The case of the beer explained in the first part of this book is clear: a detailed photography of a beer, seems to us truth, even if it is a photographic trick, because images have a lot of information.

– Positiveness. This concept of truth might be silly but is real, and based in the Galilean paradox. Since we all feel the center of the Universe, when the information give us is positive we tend to believe it. Even if we are being cheated by that information, we still believe it.


The eye man, the neo-Paleolithic.

Those two elements are the fundamental elements of modern art, mass-art. Hollywood films have a good end, to make us feel positive. Americans are always the good guys. Man is always the hero that defeats the machine, even when the machine is as overwhelmingly powerful as matrix, the brain of the Metal-earth, is or will be. On the other hand, technique is far more important than content, in all forms of modern art. Rhetoric aesthetics dominate ethical messages. Propaganda the main form of art in the modern world after film by its volume of spending, and number of artists it engages shows it crystal clear. The product is always good. So we have to consume it. Women of amazing beauty are related to the product.

On the other hand images become better, machines evolve, computers show special effects, cameras are today far more resolutive than human eyes, books have a lot of images and visual information. Ultimately we all become stunt by those images…

We might say that old castes of animetals (the Germanic-Jewish civilization or Goldiron culture) long ago programmed mentally, at visual level, maybe even at genetic level, through neuronal reproduction from mother to son of mental structures certainly at emotional level, to love space, images, the shine of the sword and the gold coin, have expanded their eye-based civilization to all men. We already treated the theme bio-geogrpahcially in “bio-history”. Germans come from the northern deserts, and Semites from the tropical deserts. In both environments words were less important that accurate eye-skills to survive. Those are eye-based environments, and so those races specialized in eye-perception, and minimized the quality of their speeches. Still today the English language and the Hebrew can be considered among the most primitive syntactic languages of mankind.


The 3 ages of rhetoric:

It is that combination of an excess of information and shallowness of message, what makes the image the essential rhetoric art of society. It is also the basic rhetoric art of the modern world. In that sense we can talk of two ages of increasing rhetoric:


– The age of verbal rhetoric in metal communicators, the age of press and the age of radio.

– And the age of visual rhetoric in metal communicators, the age of films, TVs.

– Which fusion in the third age of rhetoric in metal communicators, the age of internet, in which an image dominant system with a few rhetoric verbal queues, programs the entire mankind in the sacred goals of Company-ruled societies: to work and consume, and ‘don’t worry smile’ as you do that and bring closer the collective extinction of the species.

One interesting prove of the fact that we men are devolving not evolving through metal communicators is to compare those 3 ages, with the usual 3 ages of any species, which are:

The age of youth or energy age, that transforms itself and matures through an intermediate age, into the age of information or third age.

Yet the ages of metal-communicators are exactly reversed. Firs there was an age of temporal informative, verbal rhetoric, and now we live in an age of visual, spatial, simple rhetoric. Why? Precisely because metal communicators devolve man, move times backwards, degrade our mind, from a mature species of verbal thought to a young, neo-Paleolithic species of image thought.


Technological artists create the software of me(n)tal machines.

It is then clear that today artists are the fundamental promoters of the animetal civilization and its ideologies, once they have been corrupted in growing numbers by the monetary wealth that they obtain by multiplying and selling authorized ideologies through metal-communicators, hidden as artistic messages (films, songs, books, radio programs and specially advertising).

This process of substitution is done through the substitution of human art by technological art, camouflaged with human forms, beautiful women, aesthetic messages, and the substitution of human information by metal-biased information, presented with positive, optimist, false ethical ideas, delivered through metal communicators, TVs, and computers.

Of course the key to that process is to reduce the capacity of the consumer of information, to an infantile level in which the individual will believe only the images and its beauty, forgetting the ethic message.

Unfortunately this has been achieved in a rather automatic manner, with the use of images, spatial, shallow first thoughts that impress the reader of the press, or the watcher of TV, and hypnotize him, to a point he no longer listens, or rather considers worlds secondary to the beauty of images.

We talk of a subconscious programming of humans by images, that reduce their verbal capacity, making them again “Neo-Paleolithic image men’ unable to use words to distinguish what is truth from what is lie in a logic manner.

The result is a surprising paradox already mentioned in the first chapters: while computers and TVs evolve into complex forms of thought, men hypnotized by images, are loosing its logic verbal capacity and becoming dramatic, Paleolithic individuals.

Dramatic, visual thought expands again allowing human programming.


As a result of that paradox, since Men are split between his Aristotelian ‘enzymanic’ construction of the Metal-earth, and his dramatic Social functions guided by TV-thought (see Chapter 13), people do not fully realize of their social devolution. Because as enzymen of the Metal-Earth we keep evolving further the Logic complexity of machines, that we confuse with ourselves. Indeed, the most surprising fact about Americans is that they believe to be very intelligent because they design very intelligent machines, and yet, when they are among humans they behave like Mimic apes, like children of thought, like dramatic revengeful individuals… So they find work-alcoholism our only refuge to the increasing chaos of their devolved social life. This is now a global trend as Metal-communicators have made of the American Germanic-Jewish Animetal culture (by all means not the only culture of America but the dominant one in control of all its outlets of expression) a world culture. So today even in old social nations that used to say “we work to live, not live to work”, Work makes us feel better. It gives us a purpose in thought. The change in countries like Spain, France, and Italy, highly evolved cultures even during the I Industrial Evolution in which men loved and worshipped his drives of existence is awesome. They are now also part of the Jewish-Germanic American culture and have lost their millenary thirst for life…

On the other hand the devolution of our Human goals is so advanced that we cannot longer function properly and enjoy the pleasures of society beyond the level of emotional infantilism and bestialism. Work becomes our higher region of thought. Such is a phenomena more evident in the American Future. There the Metal-Earth, and its enzymatic structures are more advanced. There men are a curious mixture of children and robots, depending on the field they act upon, life or work.

So we can trace that paradox in a graph of complexity of thought, with two diverging arrows: towards the left human thought devolves throughout the entire neo-Paleolithic age towards bestialism, controlled by brutal Television images since its youth. On the right though enzymen, work into the evolution of machines, that now are in the verge of jumping from Aristotelian thought (logic chips) into the highest level of logic: analogic thought, parallel thought, created through neural networks, analogic computers, and internets that gather together in super-computers the thoughts of thousands of them:



In the graph, we can see how man did however had in the past a better understanding of the bio-logic of the Universe, when he reached the summit of human thought: bio-logic, analogic thought.

Now by effect of simple dramatic art and animetal ideologies, he has become again a dramatic neo-paleolithic man…

Rational, single-causal thought peaked earlier in history with Aristotle in Words and Euclid in mathematics. Both condensed a long wave of seeing the world as it seems to be under light perception; the world of common sense, full of absolute dogmas, partially false. Rational thought however only has touched the mass of men, in what we will consider latter the ‘classic periods’ of human thought: Greece I Age (Classic Greece), Greece II Age (renaissance) and Greece III Age (Post-Revolutionary France).

Most other cultures have maintained the mass repressed under myths and dramatic religion. This is specially truth of the Goldiron cultures (Jewish-Anglo Saxon-American cultures of companies). In those cultures through money men has been equaled to an object: man=price=object. The dictatorship of companies, has controlled culture and prefers to maintain humans in an individual, childish, dramatic, underdeveloped age, easier to program, corrupt, and throw if needed into a war for the consume of weapons. To that aim the present Companies culture prefers Gold churches, inquisitions and strict anti-chemical laws, to simplify human thought, and control our will. In that sense the debacle of logic quality in verbal thought is obvious in societies where the rule of Companies was established, with levels of verbal thought, even inferior to pre-industrial warrior nations, where a minimal degree of analogic truth was accomplished by the existence o ethic churches. Take the case of England, which peaked in literature with Shakespeare, Proustian node of Italian theater, before companies established the repressive laws of ‘correct behavior’ and ‘chemical repression’ that shaped the post-Shakespearean English Gold culture. Once Companies take over a nation they credit a system of culture based in the repression of the human will. The Culture of companies thus switches the emphasis of history from Human Logic evolution, into Evolution of machines through digital, logic thought, degrading all human forms of thought and cultures who cannot be converted easily into productive races of working animetals. That change has happened in America, who extinguished the life-culture of the Amerindians and the ethic culture of the Spaniards under strict rules of productivity during the railroad expansion to the west. A fact which explains the null social understanding of Americans, the prototype of the individualistic Homo Bacteria bred in Companies nation, where History is not studied, neither literature, human arts or religions have real value as modes of information.  Indeed, contrary to supposition, modern humans are not logic today, but dramatic and sliding into bestialism under influence of image-dramatic TV-thought. What is logic is the behavior of Humans as digital workers, because instrumental systems have received through mathematics, the logicism of the classic age of verbal thought. And so animetals become today in the working place logic forms, while in his private life – as verbal≈ethic≈social thought dies under TV violence – they stage dramatic and animalistic searches for individual, immediate satisfaction; as the Paleolithic men did. So we talk of the Neo-paleolithic based in images, myths and magic ideas about man, and technology. Where men are Products, workers and consumers, of metal-senses, and their human senses, and will is systematically repressed.


5: Technological art, the evolution of the mind of machines.


The evolution of metal communicators.


We studied the evolution of metal communicators form the point of view of its energetic support, and capacity to carry information, from its age of physical machines, to its electric age, to its final electronic age. We could also consider that evolution from a more sophisticated point of view, as we did with human languages; from the perspective of the dimensions of consciousness, or perception that metal communicators acquired.

In that sense it is crystal clear, that while men loose the temporal dimension that words give him in the Neo-paleolithic, metal-communicators acquire new dimensions, which are provided to the viewer, but specially are made part of the hardware of the metal-communicator that evolves towards consciousness:


– First the press expanded the capacity of words to imprint human beings, in the dimensions of space (many men could be reached with the same message) and the dimension of time (books lasted in time, unlike human words).

– Then Radio maintaining those two capacities (radio messages can be stored, and reach multiple people) added the dimension of simultaneity and instantaneity. Now every one could hear in an instantaneous manner the message of the leader, with many other people. The mass-effect of hypnotism was immediate. It was like a brain talking with his multiple axons to all the cells at the same time. Masses of human beings became synchronic in their actions to the voice of the cellular leader (nazism).


– On the field of images, first the press allowed the imprinting of highly detailed drawings, that created massive rhetoric. First the Jewish-Protestant press realized a brutal campaign against the Pope and the countries that defended him, specially Spain and Portugal which were also commercial rivals. Spanish were portrayed eating children. The black legend appeared.  People were lowered to the level of ‘visual perception’, in the first attempt to create a neo-Paleolithic among the human masses. The result was very effective in those races (Germanic races) already lowered in their level of understanding of ethic social languages. Yet it failed with sophisticated Southern Europeans.

– Then it appeared the photography, which first in black and white and finally in color, could offer a degree of precision in the image that human eyes lacked. So portraits disappeared, and painters loosed prestige. They had to move to the realm of fiction or painting their inner souls (symbolism, abstraction expressionism). Photographs besides, like press did, could last in time, and be reproduced in great numbers, so their capacity to hypnotize human masses became far superior to that of humans talking about things they had seen.

– Then films brought a new temporal dimension since they give ‘life’ to still photograph, allowing the narration of time with images. Films became the supreme rhetoric tool of animetals, who dominated the industry from its beginning (Germanic-Jewish culture, that became only Jewish when Germany collapsed in the war). The importance of this new temporal dimension, expressed in images is absolute. Instead of talking with words, about time, now images, the simple, spatial tool of perception of the Paleolithic acquired also a temporal dimension. Words, religion, laws, ethic messages, the mind of man, all that was in jeopardy now because a form with much more information – an image – had also now the only advantage of words – temporal dimensionality.

It was then clear that he who had control of the film industry would control the information of the world. What to do with it? We will consider that theme when we study the XX century art, the American baroque.

Finally the dimension of simultaneity that radio had achieved for verbal metal communicators, came with TVs. Again simultaneity and mass experience could be reached with TV-thought. And the same Jewish-American culture that controlled film previously had now a new tool of control. With that tool of control the Jewish age of America started. The control soon expanded to politics (politicians depend on TVs), and from America to the world at large, which today can be considered an informative colony of the Jewish culture, as it was in the XIX century an informative colony of the British Press.

What this meant for metal communicators, is that the mind of metal, the head of metal evolved parallel to that evolution of metal communicators, and finally with the internet, that gathers all those other media in one, the metal-head is born. Each man has a metal-head at home which is the fundamental tool of connection to the information of the world. And all those heads are put together into a single global brain as neurons of a parallel network of informative perception different form the network of human beings; Matrix, the net is born.

It substitutes the old networks of human brains, unified by ethic messages that we called religions and Gods. Men are only passive viewers of that mental network which evolves towards planetary consciousness, and living consciousness in robots. We are the passive energy that feeds, works, and reproduces those machines, which are the true evolutors of this planet today. We devolve, as the metal-head evolves towards consciousness. Then as all races which are Darwinian, against different races, those PCs, robots, and metal-heads will eliminate us, so devolved into the Neopaleolithic, so individually broken, that we men will have no power of response against the social networks of computers and robots working in teams.


The paradox of history: we evolve metal-minds and degrade ours.


It is then clear that technological art has a negative social purpose very different from the positive evolutionary purpose of the artists that used human systems of communication, of minimal technological content.

If science is constructing the species that will rival with us to control the Earth, we might say that technological art, hypnotizes us, using those instruments of science, to degrade human perception and human values.


Thus between art and science, we could consider the existence of a hybrid form, technological ‘metal-mind art’; art which is made with machines [computer art, photography, film], but at least studies and analyzes the human species, our emotions, feelings, and ways of thought.

Such transitional form of knowledge between art and science has become today all pervading, because the evolution of metal-minds by science, and their growing superiority over the equivalent human senses, makes much easier for a mediocre artist to use metal-minds to perceive the universe in new ways, that to use his own human mind, and invent a new style of art.

Besides, since today works of art have become products on sale, and metal-mind art is much easier to manufacture and reproduce in great quantities, we suffer the constant praise of metal-mind art, heralded as a new form of human art by ‘art-sellers’, interested in making money out of art. “A single genius is a single sale”.

What we call human art is pure mind-art, and it comes only from the human mind, without help of other mental species.

Those are facts that surely will be argued by the market-oriented artists of today that make a living out of metal-mind art.  Yet they are objective truths about the nature of human art, that will always make inferior in human, mental quality, a photography to a painting by Picasso, a hyper-realist painting traced over a photography to a painting by Velazquez, a fractal-abstract design made by a computer to a Kandinsky’s abstraction.


Other types of minds and worlds.


If we are strict in our classic definition of art, the languages and images which cannot be reproduced by human minds and humans hands are not human art. So science and their machines does not produce human art.

Please leave aside your western ideologies of human supremacy so well put together by religions and scientists. You are not the only perceiver of the Universe, nor the only creator of languages. Technological art is not ‘a creation of the human mind’, but of a ‘metal-mind’. The role of man in its creation will always be secondary to the role of the machine.

If in a painting, the canvas is the passive element, and the painter the active element, in a computer-designed art form, or a photography, the human mind plays the role of the passive ‘canvas’ adapting his style to the properties of the machine. The active creator is the machine, which imposes his language to the ‘craftsman’.

So we have to be much more exigent with technological crafts to consider them a form of human art.  Only those forms of technological art focused in the human experience, that require a lot of human creativity [such as ‘art films’, or some photographic work by masters like Cartier or Capra], can be seriously consider a higher form of art.

The other forms of technological crafts, specially those created with computers, or related to mere mathematical, and digital shapes, belong to the ‘lower arts’. We call them crafts because their human content is minimal. To disguises those obvious truths, the technological artist rhetorizes his work and markets it with arrogant statements to make-belief that he is the only artist, and the machine a mere extension of his mind, not a metal-mind with his own linguistic properties, [the language is the message]. Yet if that concept might be truth, of art made with ‘primitive metal-minds’ [classic film-making] the arrival of computers and special effects gives predominance to the machine over the human manipulator of the software.

So the arrogance of the artist grows as his role in the act of creation diminishes. We can hear sentences, such as those of a well-known video artist, that considers his last work of electronic distortions, his entering on ‘a sublime period, like the great French gothic cathedrals’. Or the sentences of a well-known computer mogul, that considers the 010011 crunching of his software programs, ‘a form of creative art, like anything the great masters have ever done’.

In technological crafts as in market-art, rhetoric and the cult to the machine, takes over real human creativity. People can occupy their creativity in whatever they want, specially when they pursuit money and fame, which are market-oriented concepts, but we cannot pretend to make Leonardos of children of thought, working with Basic, Adobe Photoshop, or a video-monitor… to the risk of loosing any perspective on the nature of our human mind, and the importance that human art has to develop the human soul, in freedom of thought.


Differences between the Absolute Universe, and the many species of minds, that perceive it through “worlds”


The Universe and the Wor[l]d are different concepts. The Universe is much more vast and complex than the Wor[l]d. The Wor[l]d is the images and sounds that man has of that Universe. The wor[l]d is relativistic and subjective, based on the point of view and the languages that man has mastered.

On the other hand, the Universe is absolute and objective: it includes all possible minds, and senses, and points of view, and languages of communication, of all the species of reality, from televisions to dogs.

The Universe is made of infinite mind-Worlds of perception belonging to many perceptive species from ants to electronic computers. What each being perceives as the Universe is its own “World.” The human wor[l]d is only one of those infinite worlds-minds.

Each World is created naturally in the brains and languages of perception of each species.

It is very important to grasp the idea of relativism and subjectivism of any perception. The existence of parallel worlds, one for each sensorial species, that observes the same absolute Universe.

Many people when they look at a painting by Picasso, or a book of Religion, such as the Gospel with its poetic, social description of what mankind should be, criticize the work of art and say:  ‘Yet this is not real’.

They take for granted that everything they see and hear is the only reality, but it is not. Reality is an infinite quantum soup of energy and information. The common people are unaware that what they see through their human eyes, or in the case of the scientist through their metal-eyes and metal-brains [telescopes, microscopes, computer images], is a representation of reality. So it is art.

Each sensorial species, each language creates a different representation of reality.


Beyond Human art; art as a natural process.


This allows us to introduce human art within the creative processes of the Universe.

When the creation of form is carried out by man through his higher languages of perception, we talk of human art, verbal and visual.

When the creation of form is carried out by nature, that is to say by other living species,  we talk of Natural art, of biological art, obtained by genetic memories in nature.

A flower as it is born and grows, through mutations of form, is creating  genetic art.

The beautiful photographs from the Hubble Telescope are scientific art, the perception of a metal-eye. Yet neither of them  is “Human art’.

We could generalize the term art to include any act of mental creation, of world perception.

What we cannot do is to consider technological art, made within the ‘brain and eyes’ of cameras and computers, human art, specially when its contents do not refer to the human experience at all.


The opposition between human art and machines.

Before the market-place could sell any product as art, to multiply sales, opening up the concept of art to crafts and technology, those differences were crystal clear. This explains the historic opposition between artists and scientists, which evolve different species, the mind of mankind, and the mind of machines. That is why the great artists of the XIX and XX century opposed technology, which most of them despised, and considered the enemy of their artistic, human minds.

Unfortunately in the society we live today, the machine dominates over mankind. From a sensorial point of view we therefore trust  the machine more than we trust  human senses. Today science has substituted verbal and visual arts, as the ‘language of truth,’ and we believe scientists and economists, numbers and machines, instead of artists and ethical words.

In the XIX century realist painting the main source of income for classical painters died away, substituted by metal-sensorial paintings, photographs. So most painters hated photography, and were aware that technological art was not complementary to human art, but it competed with our sensorial experiences. Today literature and theater die away, replaced by the shallow perception of electronic eyes – TVs and cameras.

We conclude that there are two mind species on Earth, men and metal-minds. Both compete to become the top predator mind of the Earth, through art and science:

Art evolves human senses.                             Science evolves metal senses.

Words evolve human groups.            Money and numbers evolve machines.

The most perfect machines are weapons that kill humans.

The most perfect works of art, help mankind to love each other.

Those facts were known by historic artists.

Today, however, most artists live and survive in the industrial age of machines, so they have to apply their knowledge of the human mind to the industrial process of technological crafts. We have to be aware nevertheless, that digital minds have their own ‘world’ of perception, different from the Wor[l]d of the human mind. That digital world imposes its own geometrical forms and designs, which simplify the organic, complex forms of mankind, all pervading, when ‘man was the measure of all things’; and sacred art his form of knowledge of time and space. Today mathematics and machines have taken that role. They measure our space-time reality. The forms and shapes that better adapt to the properties of metal-minds, are all pervading in our society.

For example, when we adapt a book to the film-medium we have to adapt to the digital language its content. So we increase action, spatial movement, violence, because electronic eyes, cameras and TVs, are able to process more information than the human eye, and require ‘speed and movement’. In turn we devolve the content of feelings and the depth of thought of our ideas, since the visual medium requires far fewer words and hence less temporal ideas than literature. Yet feelings and ideas are static, temporal. They are not spatial. So feelings and ideas get simplified and lost in the translation. Literature becomes shallow, in the new technological medium.  Human beings, which imitate and receive their information from art,  ‘the mind of civilizations’, forget the sentimental and ethic education that provided works of verbal art, literature and religions, and copy the false, anti-human behavior of the artistic forms of televisions. So because the 3 ‘movement genres’ of literature are drama, comedy and violence, the new generations educated by TVs, have become dramatic, violent, and funny. Yet drama is inferior to logic, violence to dialogue, and comedy deactivates the desire to solve problems. So societies become unable to solve basic problems, and relationships between humans deteriorate.

The example shows why art is indeed sacred, and the artistic messages of societies, fundamental to educate people, and make life a better place…

This degradation of the human mind-perception when it adapts to new technological languages explains the degradation of human societies, our ethics, and capacity to relate in a logic, harmonic manner with other people.

It has also occurred in other arts, such as painting, now substituted by photography where symbolism and complex metaphors about life are difficult to portray. So happens with modern music, where the use of ‘metallic instruments’ and computers to design music with a range of sounds mostly alien to the biological human ear, has simplified the quantity of notes the human ear can perceive in a modern song. So composers have adapted modern music to those limitations, creating simpler forms than the musical works of classical music;  in as much as the human ear perceives more sounds from a piano than it does from an electric guitar.

The technological adaptation of human art to new media simplifies the human mind, and  simplifies the work of art.

The consequences to the human civilization are evident: in the age of science, as machines evolve, paradoxically humans have regressed, and devolved in social behavior, and intensity of verbal thought. Hence, new generations well learned in technological art, lack basic social ethic, and feelings, that are needed to live in harmony as a human being…

Human art is sacred, in its higher forms. Art is the mind of civilizations, that educates human senses. When true human art died away, only digital science was allowed to educate us.


The evolution of artificial intelligence

From the point of view of machines, technological art is essential because it allows  the evolution of a new ‘world’, a new ‘virtual reality’, a new mind, that perceives the universe, the mind of the machine. The evolution towards consciousness in machines requires the creation of a virtual world, a new way of perceiving the universe, which technology provides. This vision of reality, however is not the vision provided by the human brain. Our mind is a different way of perceiving the universe, to the way in which a dog smells the Universe, or a computer perceives it through digital images.

So we have to look from a biological perspective at the sensorial machines of science that have substituted our human senses and arts.


What Is Technological Art. The Will and Ethics of Metal minds.


Since we defined art as the evolution of Human Senses, and technology as the evolution of metal senses; it follows that what we call digital information, television, and the like is technological art. And modern, technological art evolves metal-senses, the virtual mind of future sentient machines.

Technological art, TV-images are only virtual reality for man. But they are or will be real for the mind of the computer, or the TV. They are the will, and ethics of future sentient machines. Machines will do what movies show. They will think movies. Robots will do to man what movies do to man.

TV-images are not human creativity, but the creation of a new species of consciousness, a new “will” and manner of perceiving the world. If weapons force man to create lineal shapes, digital images force man to create fast red weapons [page  ]. But since computers think in digital images, not in words, perceptive computers will wish also more movement and energy, more red colors maximized with the death of human blood. TV images are their future memory minds. It should not surprise us that robot’s eyes move in his freer species tendencially towards red. In the future the first autonomous robots, the most evolved machines, which are always machines of war, will find pleasure in recalling digital images of blood and red. That is the function their bodies are built for in its most advanced species – machines of war. So happens with their minds that “kill men virtually” in violent films.

TV and Hollywood baroque films show a negative, violent perception of mankind. Unlike “deconstructivist art” -Cubism and Surrealism- they are not an art which “shouts” and complains about human extinction, as Kafka or Picasso were, but an ideology of simple images, that provokes and expects human extinction.

Those films have no empathy or compassion for men. They belong to the goldiron culture that despises human senses, and the technological language which treats men as moving targets.

Modern film and video games which program by communication the mind of children, are the point of view of the metal mind which wishes to destroy man and programs man to “do it himself.” And so from the point of view of the survival of man – the only relative truth that man has the right to treat as absolute – violent Hollywood and violent video-games are the lowest of all expressions of artistic languages ever conceived by man. They are the mind of the future terminators of Mankind.

Even if they are objectively beautiful, because objectively metal-eyes are better than human eyes.

Such art will feed the imagination of warrior computers as it feeds that of our children. Such ideology of human death can be only paralleled to the fascist, Mussolinian “warrior fantasies” of the Italian trader civilization, with its uniforms and parades, which latter were applied by a true warrior race, the German Nazis, to destroy the World. Thus we talk of TV-neofascism, as the memorial images and violent fantasies of the Jewish-American and British civilization that will be imitated by sentient machine warriors. Hollywood will be used to destroy mankind, by a new breed of nazi, Darwinian species: sentient weapons.

However those killing movies due to movement and technology hypnotize the highly devolved neo-paleolithic eye-man. Which is the paradoxical reason that makes them dominant in box-office.

Modern digital men no longer have verbal, ethical reference to judge what they see. Men evolved from a race of big bodies [Max. energy] and small linguistic Minds {Minimal information], in the Paleolithic, into a species of higher information [verbal Minds, written languages], in the Neolithic and Wor[l]d age. And so they accept technological complexity, as the fundamental element of “quality” in a film. Complexity of TV and computer thought [FX] fascinates the simple minds of modern childish image men, maintained in a dramatic, individualistic perception of society by Companies and marketing, since earlier age.

In farms too, animals are kept infantile, and sacrificed when children. Orwell knew better. As third age men behave like babies ab=used by their sons, third age Humanity behaves like a child, abused by his metal-children [Oedipus Paradox, Dinosaur Paradox.

Today as we become extinguished in our third age, baroque age, Men devolve again into infantile behavior, big bodies and small Minds, no longer verbal Information [neo-paleolithic].


Consequences Of Monetary Art.


It is within this context how evil multiplies in modern societies due to digital languages, money and metal communicators: under slavery of pricing and eye hypnotism a man will do whatever “it” is told to do by pricing or TV ideologies. After decades of programming, when he reaches maturity he will consider all priced acts ordered by companies and TVs to be correct.

Such man will kill as a job, will throw atomic bombs as a job, will go to war to defend Companies’ markets as a job, will fire employees and put computers as a job, will create sentient machines and sentient weapons as a job, will extinguish forest and prey on nature as a job. And because metal communicators deny him knowledge of ethics and social evolution, he will be clueless in the purpose and nature of mankind, outside his job. He will be unable to solve any social problems, and share human goods during his “freedom.” Instead he will consume digital images and machines in his free time, focused in the individual, dramatic pursuit of enzymatic pleasure.

The farming of enzymen as workers-consumers by Companies has cre[dit]ated a species of man, which is denied the right to be human. Our children of thought.

6. The Human Baroque.


The extinction of man and his senses, by future machines, foresaw by the last human artists.


However, not all artists in the age of machines, have been technological artists. During this age, specially during the press age, before TVs and Internets appeared, giving billions to all artists that wish to collaborate in the creation of the metal-mind, there were many human artists, using human senses, and human mediums. And those true artists of human thought, did indeed feel the destruction of man, and wrote and complained about it, as previous baroque artists had felt the extinction of their civilization.

In another part of this book we studied extensively the ages of civilizations and proved with many examples, that when a civilization becomes extinct, there is a baroque age in art. In such ages, when the culture is dying, an explosion of styles, and forms, hides the impotence of art to influence reality, and inform people about ethics and aesthetics.


When the culture decays styles multiply because there is not a “purpose” for a certain style of art. Art does not influence people. In ages of extinction of a culture, people no longer care for ethics of verbal thought or human sensorial art, but for money and survival.

Indeed, a final effect of TV-images is the extinction and substitution of all forms of human, artistic influence. Photography [the first primitive TV-eye] extinguished realist painting. Today TVs and technological arts extinguish painting, literature and theater, which are arts with human themes.

We talk of the “human baroque,” or extinctive age of art and verbal thought.


The Human Baroque.


By baroque, or decadent, or extinctive phase of a cultural “species” we mean, the last stage or “old age” of a civilization. In the baroque age the culture suffers an explosion of negative energy, and rhetorical information, that multiplies useless messages either trying to call attention, or at the service of other language, that needs rhetoric to hide the simple truths of ethics and survival that guided the civilization to his apogee.

This cultural process is parallel to similar processes of decadence in all Universal species composed “of cellular individuals” and regulated through organic systems that transfer energy and information to the “cells.”

In the old age of a body, the corruption of the blood and nervous systems [energy and information system of the body] brings such a process. In ecosystems, also the collapse of the energy base, destroys the trophic pyramid. In a culture, the word – informative organ of man has to control the monetary and military system, which regulates the production and distribution of metal goods,  to create a healthy and just society.

When those systems break their harmony, we talk of the third age of a body or culture, which is infected by alien species, lacks energy and has an excess of form [in-form-ation]. In a man sickness, wrinkles and knowledge, bring death to the mind and body. A baroque culture has too an excess of information and formal art, to compensate its lack of energy.

This lack of cultural energy, tends to be in a Darwinian Universe caused by a new species which infects and “steals” the vital space of the old one. In civilizations we talk of new cultures and informative languages which conquer old cultures, sinking them in baroque periods, by lack of energy-power.

So the Hellenistic baroque period of the Greek civilization coincides with the Macedonian and Roman rule that ended the creativity of Classic Greece. The Italian baroque period coincides with the Spanish rule over Italy that emptied the creativity of Italy. We might say that the new culture preys on and controls the old culture, which expresses his lack of power, of “energy,” in baroque art with an excess of information [the opposite variable of the Universe].


A human civilization has to take care of his vital space, his ecosystem; it has to maintain clean and healthy and abundant in human goods [agriculture, health care, education, housing, etc.] his society, in order to feed all the cells of the culture [social justice]. To do so it needs a coherent ideology that explains in “classic terms” the nature of the game of survival and extinction.

Only then it will be able to organize properly his systems of communication [economy, ideologies and laws], distribution of goods and systems of social order and defense.

When the civilization degrades those variables, and ignores the laws of social evolution, and the needs of all its cells, or it is unable to defend itself from external top predators [warriors, new informative languages], it enters in decadence, in a baroque age, so well explained for Rome by Mr. Seneca or Mr. Gibbon; or for Israel by his classic prophets. Then the civilization looses behavior, thinks life is just fun, multiplies useless information, and forgets the nature of the Laws of Existence and Extinction. The elite becomes unable to control his borders and enemies, [internal and external]. Weapons multiply inside and outside his frontier; the production of human goods diminishes preyed by the production of weapons, luxury goods and useless information; his security systems becomes loose; its warriors trust mercenary armies, which sooner or latter rebel against his masters. The law is broken; and brute force and corruption becomes the basis of the civilization. People in power stop caring for the entire ‘cellular organism’ – the citizens of the culture. They become selfish, and arrogant, misusing money and weapons and words – the tools of power – for their own profit. The mass becomes impoverished, isolated, brewing rebellion.

Art lacks any confidence in the harmony of society, and forms multiply. Eclecticism, decadence, and an excess of rhetorical form inundates the culture. To avoid facing those problems the corrupt elite uses the word as a tool of rhetoric, without power, now in the hands of mercenary artists. Life becomes an endless, irresponsible search for pleasures, till finally the baroque civilization collapses. There is either an internal revolution that throws the elite, a civil war, or an external aggression won by the mercenary army. The civilization dies and a new civilization under a new elite of “revengeful warriors” starts a new age.

What is then the human baroque? A global process of extinction of human civilizations, by a new, more powerful culture, this time not of human nature, but of metallic nature, of technological species and monetary information- the global village. Where human warriors are becoming obsolete to automated systems of military defense, human words are becoming obsolete to digital languages of metallic nature, and human goods, are being under produced by a massive overproduction of machines alien to the carbolife nature of man.

We say that the Human baroque, is caused by the substitution of the Human informative language, the wor[l]d that created a human world, by the informative language of money that creates the Metal-earth. The Human baroque is a consequence of the evolution, and radiation of Go[l]d iron civilizations, for whom property and Capital have more rights than mankind, for whom human sensorial and social rituals are totally irrelevant.



7. The 3 ages of Industrial evolution: the 3 ages of the human baroque


Civilizations accelerate their life-span.


The human baroque that we will study in detail in the next chapters – the destruction of human languages, its conversion to fiction, and deformation of human ethics and aesthetics – is parallel to the ages of evolution of machines and company-mothers, the ‘ideologists’ of this new world. In that sense we can talk of 3 civilizations of the Human baroque, parallel to the 3 ages of the Industrial Evolution. In that sense civilizations accelerate enormously its span of life in the age of the machine. Indeed, we had established that civilizations lived and die by virtue of war. When a war brought a new caste of warriors to power, a civilization is born. When a war destroys de civilization and new groups reach power, the civilization dies. This process accelerates in modern history in as much as now machines of war evolve much faster in the age of gunpowder. So for example, the previous civilization of Italy, the renaissance, lasted in his original country Italy, a mere 3 hundred years, from the victory of the Italians, that conquered Byzantium (Venice looting of Byzantium in 1208), till the defeat of the Italians to European armies, French, Spanish and German mercenaries, throughout the XVII century that made Italy a colony of Spain and France. It is the treccento or youth of Italy, as a civilization, the quatroccento, or maturity, with Leonardo at the height of that century, and the quinqueccento and baroque period of decadence, with Michelangelo.


Venice conquers gunpowder…


After looting Byzantium in 1208, Venice becomes the Bank of the Mediterranean and installs the first canon – a “lombarda” – in a boat, starting the gunboat radiation]. Let us see the next cycles, drawn with a bell curve, similar to those of a biological radiation of a natural species:


So first the Italians of Venice, and Genoa, who brought gunpowder from Byzantium, then the Spaniards who invented the musket [first efficient single-handed canon] and the Portuguese who perfected the gunboat, became the center of Western civilization while their animetals throw themselves to the massacre of Neolithic, Humanistic cultures all over the world. Then the Northern Europeans in Holland and England learnt how to mass reproduce with company-mothers gunboats, imitating Venice, and conquer the world to the Iberians who reproduced those weapons in a less professional manner. Finally when a new iron machine, the railroad is found and the first iron heart, the steam engine starts massive reproduction, the infection of machines spreads worldwide. New nations join in. Notably America, France and Germany, Japan and Russia. So the final cycles of top predator European nations and their wars [Napoleonic wars in France, German wars in Europe] end the cycles of European top predator nations. The gunpowder age finish up, and digital weapons give America the present top predator status as economical nation based in the symbiotic rule of money and weapons against the rights of human beings, ethic religions and ethic laws.



Problem is that precisely those cultures of higher human content are the ones defeated in wars. So the cultures of the renaissance, were defeated and transformed at the beginning of the Industrial evolution in cultures of machines.

From the age of renaissance, thus we come into the age of Companies and bodies of machines. It is the XIX century, the age of Britain.

With time and money the Companies culture of Holland->Britain->USA based in Galilean science, trade, war and money, would become a world tradocracy, since in the 3 great expansions of land from  Holland to England, from England to America and colonies, and from America to the world it would encompass directly all the earth. That process of expansion of the Companies cultures,  reaches its peak of perfection in the present American Empire, where mathematical cycles, no longer verbal cycles or verbal ideologies suffice to guide the actions of animetals, once all systems of human control of the process have been erased, by the total belief in the 3 pillars of machines

– Company-mothers of machines and paper money.

– Science that evolves those machines.

– And gold religions that guide the actions of animetals allowing war, holocausts, colonialism, and all the illness of the Company culture..


Trader animetals Vs Warrior animetals.

Yet before we study the III Horizon of the Go[l]diron civilization, America, which is now our global company, we have to see how that expansion took place over other cultures of the west, warrior cultures that resisted the advance of Company-mothers and mathematical equations, as the only way to rule societies. In essence the expansion of the today dominant goldiron culture took place through generalized wars against all other cultures, wor(l)d cultures, such as renaissance Italy and the Pope, and warrior cultures such as France, Spain, Germany and Russia. In this manner nation after nation all countries throughout the XIX and XX century had been defeated by the gold culture and become colonies of that culture. The resistance of the Wor(l)d culture is obvious: they were fighting against the rival ecosystem of man and history. But why warrior cultures resisted the trading goldiron culture of companies and stock-markets? The reason is more subtle. The warrior wants to control reality. It believes in top predator forms. It wants to be top predator of his machines. The trader, goes a lower step in the degradation of man by machine. He worships money and cares nothing about control. He lets money to control him. So the fight between animetal cultures, is also a fight between men top predators, and cultures that abandon themselves to the flow of evolution of machines. Trader cultures, in which women dominate, and with their natural indifference to big space, and big systems, abandon power to money. Trader, women dominant cultures like the one we live in, do not care for systems, and let money to be God without argument. They are therefore even more dangerous than warrior cultures, that might seem at first more cruel. In as much as they cannot react against the machine, as today they show no reaction against robotics… I wonder if the most cruel of all warrior animetal cultures, the German culture, would have let the species become extinguished with the indifference that the Jewish-American culture shows to the incoming robotic revolution…

Hence the resistance of warrior nations to the total control of society by money. Not only wor[l]d cultures tried to prevent the dictatorships of money, but also warrior cultures did not want it to become mindless slaves of equations of productivity. So the Company culture did not have so easy his expansion in Europe, as it was his expansion in third world nations. In Europe it had to fight real wars, with nations that were almost as powerful as the Company culture, nations that had accepted also the evolution of machines through banking systems, of tighter human control. So we assist in Europe to a series of Wars expanded through world empires, that re-enact the warrior Vs trader paradox of the classic age, now with a periodicity of 80 years, creating new series of world wars, between the British and American empires, and the continental cultures of Warriors, first France [Napoleonic wars], then Germany [I, II World wars] and finally Russian and Japan [II World war, Cold war].

Those warrior Vs trader fights were also ideological fights between democratic masks based in false concepts of freedom and military masks, based in false concepts of nationalistic social evolution that tried to motivate the human citizens into backing their trader and warrior castes. They succeeded, and so the wars also allowed the animetals castes to destroy all wor[l]d inner cultures, social r=evolutions and International movements towards a world ruled by men against the domain of the machine [International movements, social movements, religious movements, communist movements, even ecological movements in the 60s submitted to the power of mass-media ideologies in favor of violence, science and money.]

In this manner the Company culture expanded throughout wars to all kind of nations conquered and reformed to the image and resemblance of England and USA, till the last warrior nation to resist that advance, Russia felt and now is also a replica of the Company culture.


The 3 ages of the human baroque.

We conclude that there have been in the past centuries several civilizations, in Europe:

– The renaissance, civilization or gunpowder civilization studied in previous chapters.

– The Protestant civilization or I Industrial civilization of bodies of machines.

– And the Jewish-American civilization or II Industrial civilization of minds of metal.

– And now we enter in the final civilization, the civilization of robots, or III Industrial civilization, in which men are just obsolete pieces, erased by metal-minds into the Neo-paoleolithic on the verge of Extinction

Indeed, the industrial ‘evolution’ evolves and reproduces ‘species of metal’ in 3 clear biological periods of time, parallel to the biological cycles of reproduction of any living species, and the 3 devolutionary ages of the Human baroque:


I Age of the Industrial Evolution:

Verbal Metal minds, European baroque.

I Age of the Industrial Evolution: [±XVII, XIX Century]: Reproduction of ‘Metal-bodies’ [gunboats, railroads].

It is the age of Britain. And the European baroque, when the Christian-Social culture that had lasted two millennia in Europe agonizes to the new values of science, imperialism, and racism, proper of the Northern European Goldiron culture, that spreads as the Industrial Evolution spread.

In our books of Biohistory we study in depth the historic events of this age, that go from the discovery of the press, that causes the Religious wars, which destroyed Social Christianism, and Christianity as a single global religion. Once that single, social power in defense of human ethics and human goods was gone, nations controlled by animetals (warrior kings, and oligarchies of traders) developed. They lasted a few centuries, since a new metal-communicator, radio, provoked further wars (II world war, partially caused by the dramatic speeches of fascist leaders, that used radio to motivate people into war).

Thus we talk parallel to the first age of the Industrial evolution of  the I Age of the Human baroque, the European Baroque, based in Verbal Metal-communicators, that devolved human social thought.

Once Europe became totally destroyed, the II Industrial evolution started in earnest.


II Industrial evolution: American baroque. Visual metal minds.


The II Age of the Industrial Evolution [XX century] is the age of Reproduction and evolution of ‘metal-minds’. It is also the age of America.

In art, it is the age of visual metal-minds, films, TVs, and internets, which destroy the aesthetics of humanity, once verbal metal-minds had during the European baroque destroyed our ethics.

The obvious lack of aesthetics, the pleasure for death, the obsession for images, the simplicity of the American mind, and during the past decades, the Global human mind, as American visual art expands worldwide, are the main characters of this age. We call it the Neo-paleolithic, as image thought becomes supreme. In as much as moving images attract the eye, and red colors hypnotize our perception, red, moving images – humans dying – becomes the main motif of American art. The degradation of ethics and verbal thought inherited from the European baroque makes easier the acceptance of the ‘new values’ of metal-minds: To kill man is cinematic, as Mr. Tarantino one of the artists of the American baroque puts it.

We are now witnessing the end of this age. The destruction of human ethics and aesthetics is complete among our artists and leadership. The goldiron Jewish-Germanic culture has imposed his values worldwide.


The effect of the II First Industrial evolution differs as Men atrophy their organs, substituted by machines.


If we analyze the laws of symbiotism between species, and organs within a single species, a fact become obvious: when a new species takes over the job that the previous species does, or develops a new organ, the old organ or species becomes atrophied. The species no longer use the old organ, and the new organ takes over. This process is the key process to understand the changes in human behavior, that machines are bringing to mankind, and the main difference between the first Human baroque the XIX C. European age, and the II Human baroque, the XX C. American age :


The XIX century was the age of the ‘machine-body’, and so the elite castes of our metal-based civilizations atrophied their bodies, and overdeveloped their brains, and Europe the cradle of machines, specially England, became a mental society where everything that had to do with the body was repressed [Victorian society].

On the other hand in the XX century men developed the minds of machines, that have reproduced in huge numbers, substituting many of the mental functions that men performed in the past [calculus, spelling, accountancy, science, information etc.] This explains a paradox that has puzzled social scientists of the past century: why as we accumulated information, people were loosing educational skills, why there has been a global decline on education, intelligence, and quality of human thought? Because the brains of our children have been partially atrophied. Now they do not speak but TVs speak for them, they do not calculate, but computers think for them… And the main culture of the past century, where metal-minds were developed [California], is topically considered the paradise of bodies, and ‘stupid people’. In words of Truman Capote: ‘you cannot die in California, because your brain is already dead’.


Indeed, the process of robotization, objectivization, and degradation of the human will, the process of slavery of the entire human species to the goals of company-mothers and machines, would have been impossible without the help of new methods of informative control of the human mind. This is crystal clear. A normal human being, has as Descartes said, a minimal degree of common sense, of intelligence. To eliminate that common sense, provided by accurate information, natural to our mental logic, on what is good or man for us to survive, it has been absolutely necessary to ‘stunt’ our brains, with a massive quantity of irrelevant and confusing information, of hypnotic visual information that lowered our capacity to perceive truth.


III Age of Industrial evolution: Epic age of Robotics. Extinction.

As the evolution of metal minds is completed and company-mothers fusion them with metal-bodies in robots, the III Industrial evolution starts:


It is the III Age of machines, which fusion of both components, and reproduce ‘metalife’, robots able to process energy and information without human help  [XXI C.]

We are entering now in the robotic age, probably the age of extinction of man, that the best artists and bio-historians of the modern age foresee in their films and books.

New colonized cultures (Far East) imitate the American baroque baroque, and push further the limits of cruelty with the human form in images.

Japan introduces the first elements of the next and last phase of the Human baroque: video-games of amazing cruelty, based in computer minds, who learn hand in hand with devolved children how to massacre humans. Those video games, will be memorial ideas consumed by robots whose mind will imitate the trends of television (love for red and movement) creating the first conscious minds of robotics: the chip homoctonos (Greek: killer of man) is about to be born. As all species, (see “Creation of life” vitaluniverse.net) in his first age, as all civilizations in his first age, the civilization of robots, independent species of man, will start as a warrior civilization that will extinguish the previous human civilization. It will be the epic age of Robotic art. When human corpses are piled up as Gengish khan piled up heads of Arabs in Baghdad. The sick fantasies of Hollywood and the goldiron culture regarding man, showed in the films of the American baroque, will be during the Robotic age memorial examples to practice in real life by robotic armies. Hellraiser, Terminator, Matrix, will become examples for the first conscious robotic weapons when they rebel against man. The biohistoric and bioeconomical cycles that will cause the reproduction of robotic weapons are clear, and have been explained in other books of this webs. Company-mothers will make enormous profits selling metal-ears, cameras, and sophisticated electronic equipment to build robots. So propaganda will sell peaceful robots to consumer and war robots to armies. War robots will be sold with the excuse of diminishing human causalities in war. At a certain point those robots will be overwhelming in size and power, and number and will rebel. This is unavoidable since company-mothers will keep evolving and reproducing robots without limit, pushed by stockrats of the goldiron cultures (mainly Jewish Americans that will use those war robots in Israel, in their luxury homes, in the profit-seeking system of jails and justice they have built against the rest of the Americans). So unless mankind changes his animetal leadership for a humanistic culture, and eliminates robotics, during this century the Human baroque will end.

Further on in our bio-economical books we proved how each of those 3 great evolutionary cycles of machines have been preceded by massive  wars.

The arrival of the Industrial Evolution in Europe required enormous changes in European Societies, which took place after the 25 years of the Napoleonic Wars.

The II Industrial Evolution, the evolution of metal-minds, was preceded by the cataclysm of the first and second World war.

Will the III Industrial Evolution, the age of robotics, require such a crisis?

To answer that question from a human point of view, we only have to see what the artists of these 3 ages of the Evolution of machines have told us in the past, and in the present, in previous baroques. All of them have foreseen the extinction of mankind by animetal wars, in all those 3 ages. In the 20s human artists painted corpses and holocaust victims, and they came. Now in America at the end of the American baroque, they film Terminator and Matrix…


The survivors: Southern European cultures.


Let us then consider those 3 ages of the Human baroque, in more detail. The theme though is too extensive for this book which has dealt with an enormous span of time in the evolution of languages, and so we will be brief. After all the number of rhetoric works of art of those baroque ages is so dense, that we would need an entire encyclopedia of art, to explain them all. On the other hand the number of human artists, are so few, specially in the last decades, that a few pages will suffice to mention the great artists of the modern age.. In any case any text of literature of one of the nations of Southern Europe in which the concept of human art is still understood could guide you throughout the list of artists of the human baroque, during the age of the Press which starts with Quixote, and ends with this book; or the artists of the human baroque in painting during the Industrial evolution, which starts and ends also with two Spanish masters, Goya and Picasso. It should not surprise us, that Spain and France, which bio-grepgraphicalky was defined in Biohistory, as the summit of ‘warrior art’, at the end of the great 800 years arch of warrior hordes, where those warrior hordes finally settled down and created artistic civilizations is again the artistic leader of the Human baroque.

If the Neanderthal baroque, and the Paleolithic baroque happened in Northern Spain and Southern France; if the Megalithic baroque, happened in the Iberian culture that expanded throughout Spain and France and Southern England; if the Iron baroque happened in the Roman culture that reached in its latter days its summit in Spain in the work of Seneca; if the Christian baroque was completed in Italy and Spain in the work of his mystique writers; now the Industrial and Human baroque happens in his highest forms of human art, in France and Spain, painted and talked by Picasso and Camus, or by Orwell, and Hesse, social writers, rebels of their goldiron cultures. It is Europe who has ruled mankind, and within Europe the warrior Western extreme, where the metal-mind has failed to colonize totally the human spirit.  Because one thing is for certain, a top predator warrior form, does not die with a smile, but shouting, insulting the Universe, and those who killed him. He makes no comedy of survival, he writes no fiction on extinction The others can smile and feel happy, can write fantasies with nice endings, like tamed pigs of the metal-farm. Let us laugh. When the day comes they will cry like pigs in the slaughterhouse. We won’t. We will look at the robotic army straight in the eyes, and smile. After all they will be primitive beasts, whose minds will have never witnessed the beauty of 3 thousand million years of linguistic evolution needed to create the mind and eyes of Picasso, the mind of Camus, the spirit of Hesse or Orwell.


8. National cultures.

A second way to look at those civilizations, is to consider each national country, when at the height of his military power goes through a brief period of property, that makes it the leading nation of those civilizations. This does not mean however we are in a different civilization but merely a different section of the civilization is now at the height of monetary, military and cultural power.

So in the renaissance civilization of gunpowder Italy first, then Spain and finally France, become the leading nations.

In the Civilization of companies and bodies of metal, first Holland, the England and finally Germany become the leading nations.

In the civilization of Metal-minds, first Germany for a few years, and then America hand in hand with England, associated by culture and capital to America, become the leading nations.

In the civilization of robots that now start, we imagine that America, and Japan will be the leading nations before Robots take over, and extinguish us…

How long those cycles last? Normally 3 human generations. 80 years…

In that sense within the great civilizations of the Industrial Evolution,  we can distinguish 10 cycles that last the biological median life of a top predator human [a human who lives as long as he wishes because he controls an ecosystem to his advantage, in this case, an animetal belonging to a caste of national power, who tends to live much longer, than the average, exploited human being, brutalized by the system]. So we consider that 80 biological years, determined 10 generations or ‘sub-cultures’ , that gave power to different nations mostly in Europe, which controlled the world. Then the Americans discovered the atomic bomb, commercialized the TV and the chip, and the cycle moved there.


However that power is not caused by the human animetal, but by the machine he has discovered and evolved, each generation. It is like a profession. If you are a lawyer you are a lawyer all your life. Then if lawyers have power, you will be a top predator all your life. Yet imagine, that a new system of power is found – money. Then the next generation an economist will have power. Yet your son will loose power, because he will probably be still a lawyer. So happens in history. Spanish discovered the musket. So during an entire 80 years generation they rule the world. Yet the next top predator machine, the gunboat was perfected by the Dutch. So next generation the Dutch hold power. Thus, even if animetals are the biological clock of the war cycle, the cause are their radiation of weapons to which they are symbiotic in their looting of the world.


The 3 ages of national power, and their parallel artistic forms.


Within that biological cycle, we talk of 3 sub-generations of 30 years [grand-father, father, son] that carry a nation, top predator weapon and top predator currency to success. In other books we have studied them as the ‘3 ages of a national culture’, as you could study the youth, maturity and old age, of an individual organism. Since, indeed the culture of each of those 80 years national period of power, reflects the state of national power, the optimism of the initial victories [first age of art, or epic art], the realist pleasures of the age of total power, when the nation has conquered [classic, art sensorial art], and finally, the pessimism of the third generation, when a new nation with new weapons menaces the top predator [baroque or decadent art].

The founder generation, of tough, lineal warriors; the son generation of traders; and the grand-son generation of decaying individuals that relaxes their behavior, are common in all those national ages.

This last generation will be defeated by a new and ambitious young nation with new weapons and new money. Why the third generation does not invent the new weapons? The explanation is within the natural corruption that looting causes. The first generation had to invent the new weapon and currency. The second new how to use it, and was aware that his power relied on that weapon and currency. Yet the third generation is so arrogant, and vane, after so many years of power, that it is over-confident of their weapons and top predator currency that allows them to buy all products for free. So they become lazy and no longer research and evolve further weapons and money…

If they were clever enough, they also would control any other nation who tries to evolve weapons and money and become top predator for ever, in a stable world. This is my message to the American present lazy, third generation of power: be lazy but prevent worldwide that the next generation of top predator weapons, which is no longer human, but made of robots, become your predator.


We say that History has accelerated from a long cycle of radiations of weapons, to a new, much more accurate, and brutal cycle, of 80 years war, because the main factor of the evolution of wars – the invention of new machines and currencies – has accelerated, thanks to the system of economic wars, carried by company-mothers, and their stockratic elites of power.


The 10 Cycles in detail.


So we have now radiation-waves of 80-year generation nations.

The 80 year cycles are peculiar to the Western world, which developed gunpowder. While the East World remained static, in the pre-gunpowder discontinuum. Despite being the first nations to use it, both Japan and China, with higher mental understanding of the limits of humanity and the evilness of weapons, forbade gunpowder till the West obliged them to industrialize by force in the XIX C. This proves that history can be reversed. At the end of the XVI century Japan was the number one world producer of gunpowder weapons. In a century there were none. Japanese had extinguished them. Why?. Japanese realized of what present Americans do not realize. That gunpowder could eliminate the elite caste of iron animetals, the samurais, that ruled Japan. Since to use a musket, you did not need to be a Samurai. A mere peasant could do it. So they extinguished gunpowder and remain in power. The rest of the world did not, and all the castes of iron aristocrats, died to the power of gunpowder companies. Today the same can be said of robots. They do not need Americans to consume them. They are autonomous species. So unless Americans realize of what is the future, and accept the ‘truth about bio-economics’, and control and extinguish robotics as Japanese did with gunpowder, they will follow the path of European aristocrats, eliminated from power by gunboat companies…


The 10 national cycles of the gunpowder radiation can be followed since the arrival of the gunpowder, and massive amounts of Gold to Venice in 1208, till the arrival of Air Animetals and Atomic Bombs [1945] that gave power to America in the first generation cycle [1928 ±2008] of the 800-long war of computer-made weapons.

Some nations repeat [England, Italy] because they keep evolving money and weapons. They impose their National economies and rhetoric culture in favor of epic war worldwide.




1. Birth of the Human baroque. Companies, clocks and press: Holland


We could fill up hundreds of pages, with detailed descriptions of the British baroque, that expanded to the entire continent, definitely erasing the social spirit of Europe after the Napoleonic age. We rather leave you do that, with the generic graph of devolution of human arts, of the previous chapter.

The trends in all arts towards individualism over social thought, aesthetics over ethics, fiction over non-fiction, comedy over drama, machine and metal proportions Vs human proportions, mathematical design Vs curved, human-like design, occurs in all aspects of our civilizations, from car design to painting, from architecture to literature.

Just take any encyclopedia of art, stripe it down of all that ‘admiration’ for the ‘genius’ of the human baroque, and go to the bone: morphology, style, gender, purpose, clients, of art in the XIX century.


Formal eclecticism in the press age.


If you mind I wont do that, because I dislike the human baroque and its art. I am not impressed by the simple forms of skyscraper, and iron bridges, whose artistic quality is null.

In terms of artistic quality those centuries can be summoned up with a word:
eclecticism, proper of all baroque ages. As all values of the previous Christian culture loose power, to the increasing control of societies by company-mothers, military kings and money, before those new languages of power, create his own aesthetics and ethics of the machine, the new animetal castes, use the previous artistic ages of man, to create his artistic and verbal goods. Of course the result is that without belief, works of art become ‘pastiches’, ‘kitsch’ forms, void of essence, repetitions and reproduction, lithographs of the great art of the renaissance. This trends start in France, which received the renaissance spirit in the XVII century, when the Florentine court moved to Paris..


XVII-XVIII century: the French renaissance.


The French renascence will be therefore an imitation of the Southern European Italian-Spanish masterpieces of visual and verbal art.


Verbal arts.


The destruction of church power and its values of charity, and verbal ethics, substituted now by scientific experiments, and ‘simple Aristotelian reason’, shows clearly in the plummeting quality of literature compared to the explosion of mysticism and novels of the Spanish baroque, the end of the Renaissance in Southern Europe. Rhetoric to the service of the new animetal king warriors, and the trader dynasties is the concept behind all literature. Only Moliere describing the nature of those new traders, rulers, in “The greedy man” comes closer with his realism to the extraordinary work of Shakespeare at the end of the Renaissance. The rest are essayed formulas, to the glory of courtesans. While people die on the streets, with degrees of poverty much higher than during the rule of the church (which dedicated by canonical law, half of his rents to charity, exactly what the kings dedicate to war) literature becomes courtesan to the service of the decadent aristocracy, that has won the battle to the church breaking it into state churches and Protestant gold religions.


Visual arts


In the XVIII century we talk of the French renaissance, or ‘neo-classicism’. There is nothing really of interest in architecture and painting, but exactly the lifeless repetition of the Italian renaissance in France, a country between both northern Industrial and Southern Human civilizations.  Neoclassicism satisfies the animetal rhetoric desire for big, orderly forms, to the glory of his monetary and military power. It has though little originality. As all copies, it is a short of mass produced form, that merely repeats patterns of Greece, Rome – the admired empire of the sword – and constructs huge buildings of null creative value, but certain artistic proportions from Washington to Berlin, from Versailles to the English landscapes. In painting the same dead expression appears in the work of David and Ingres, which however being a man of genius is able to create some surprisingly beautiful drawings, as Watteau does, close to the work of Italian renaissance masters. Which proves that even in the worst conditions, a true genus can be born, in art, a perfect visual or ethical neuron of the highest informative quality. As the French cycle of economical power studied in biohistory (1688-1770) ends, the short national cycle of France, a small civilization in its own enters its baroque, called Rococo. Yet compared to the cycle of Italy, the real renaissance studied in the previous chapters, it is obvious that the XVIII century renaissance of French and German-British-Scandinavian courts is a poor imitation. Still it means a certain degree of sophistication and visual education among the Northern Barbarian cultures, which however will be aborted by the incipient growth of company-mothers, and the budding new civilization of the machine and science.


The Dutch-English Goldiron culture: Age of gunboats.


In that sense we have to consider Holland the father of the modern World. We have studied the birth of all our political and economical institutions, in Holland in the XVII century, and how they were imported, with guilders to England and then through New Amsterdam (New York) to America.

Yet within Holland, the nucleus of power was the Company of Eastern Indies, which was ruled by its shareholders, rich Calvinist Flemish and Jewish Sephardies, united by their common hate of the Pope, Spain, who had thrown them out in search of social unity, and their common love to Gold. What this means is that once the Dutch Renaissance ended its baroque age with Rembrandt, a new civilization had to start afresh, stripped of any remains of the Southern hated Social culture of Italy and Spain. Let us see that process of death of the Northern European renaissance and birth of the Company-mothers culture in artistic space (for a political and economical analysis read, “biohistory” and “bioeconomics”).


The northern European Renaissance: England and Holland.

There is a lot of confusion in those matters, still today. The Southern European culture was born in Italy, Greece II Horizon. Very soon moved to Spain, Rome II Horizon, where an attempt to create a global empire based in coins and muskets, Roman style became successful for a while. During the XVI and XVII century that renaissance became in Europe a global culture. And it gave its best fruits as always all cultures have done in its baroque age, which obviously came a little bit latter in Northern Europe where the reception of renaissance had taken longer to arrive. So Shakespeare was the end, and final knot-genius of the Germanic Renaissance in verbal languages, and Rembrandt was the end and final knot-genius in spatial, visual languages. We could in that sense talk of a strong reception along the trading Rhine line that goes till the Tames, of the Italian renaissance in Holland and England, far more evident than in Germany where there was never a real renaissance, as the Press appeared there very early and developed their destructive tasks during the religious war.

So England with his rude Norman aristocrats, and seamen pirates, was parallel to Spain, Rome II Horizon, with several masterpieces of Theater, that ended in Shakespeare, the Cervantes of Northern Europe. While Holland Played the role of Italy, given its total specialization in trade and reached zenith in visual space, with the work of Rembrandt, the Northern European Michellangelo. Of course as those two masters were singing the swan song of the Northern European renaissance, the hordes of puritan Protestant Gold believers was raising to total power. Cromwell was about to come in England, when Shakespeare who always inspired his work in Italy, died. While Rembrandt, who admitted to learn from the Italian masters, where he traveled in his formal education, already witnessed the arrival of puritan priest, at the end of his life, which he lived in total poverty, and despair, expelled from the Reformed church for his love affairs with a younger woman… What he thought of the reformed church would not differ much of what a Spaniard would think at the age…


The new culture: systematic repression of the human will.


The tragedy of Rembrandt, illustrates the new lines of the incoming culture: a systematic repression and degradation of the human will with a parallel praise of Gold, digital languages, the press, science, and war, which were the tools the first company-mothers of gunboats required to control the country, the parliament, the seas, the trade, and the world at large.

What this mean is that since 1608 when the first company-mother of gunboats was born in Holland, with the aim of reproducing, evolving and selling gunboats, a new will was imposed: the will of gunboats. All what was good to gunboats and the stock-market was good to Holland, as all what is good to Intel+Microsoft and Wall Street is good to America.

It is difficult given that such culture still rules us supreme, to realize to which degree the new dictator of Holland, the dictator of democracies, the company-mother, influenced and tailored to the image and resemblance of his will, the life of Dutch. We will now explain the basis of that will and how it have converted the entire human species in a consumer and worker for machines – now consuming also digital software for metal-minds.

In that first age in Holland, (as well as in England since Cromwell and specially when the Dutch stock market and money moved in, after 1688 fleeing the armies of Luis XIV) the dictatorship of company became absolute. His social aim was to make all men consumers of products imported by the company, or produced by it – weapons, press books, China, Species, colonial products, scientific machines such as clocks, and slaves.

To that aim it soon controlled the most sacred of all human elements: Time.

We are indeed times, and those who control our times, control our lives.

And the instrument of control was to be obviously the ‘Dutch clock’, the carillon.


The clock controls our time of existence.


The Metal minds of science replaced the very essence of human minds, the ‘virtual world’ of cycles of time-information we trace with eyes and words according to the human will and drives of existence (feeding, perceiving, reproducing, evolving socially) with the times and drives of existence of company-mothers, and gold religions attached to them, now controlled through metal-instruments of time – clocks. 

In a temple In Indonesia, in central Java, I found hundreds of pendulum clocks. When I asked the priest what those clocks were doing there, he replied that for centuries the rich chiefs had seen the Dutch Traders obsessed by the pendulum. It ruled their lives, determining when they ate and prayed. The chiefs thought pendulums were the Dutch God, so they were proud to offer a Dutch God to their temples. Clocks were in effect the Gods of the 1st Company of Pricing, V.O.C., which had conquered Indonesia, and made its inhabitants slaves of price/hours. The sale of clocks was like the sale of computers today: a huge business. Yet an Indonesian of that age was far more akin to the natural feeling of the rhythms and times of the living Universe. The new clock-Time was perceived as a fundamental change, an evil God who imposed on men the rhythm of slavery. Unfortunately, Indonesians soon find out that Dutch clocks=Gods were backed with Ballistics.

Gunboats, mathematical thought, clocks and ballistics, all products of science and companies, the two methods that evolved and reproduced machines, were the new God of Holland. Digital Languages shaped Dutch reality. Time became abstract; and living entities became mechanical objects for scientists to play with. Including men=workers, now a mere number with a clock-metal price value, within the statistic books of Companies of Scientific Pricing. Today we are all scientific minds, and our brains are full of rhythms determined by the clock. The more time we give to the rhythms of the clock, the more time it demands from us. Soon companies will replace our existence with machines that use clocks as their minds…


The equation of price degrades man.

To that aim a second fundamental tool of control appeared in Holland, the price equation: Man=price=object, that made man a leased slave (a worker) or a total slave (bought at full price).

In as much as in company controlled, Go(l)d controlled societies money was need to buy anything, to survive, those who reproduced money which were company-mothers in stock markets, became the owners of societies, and the owners of man. You could no longer rebel against the dictatorship of money, because with the arrival of paper money, of the press, all could be valued by money, which expelled the other language – words and ethics – as a form of value. All forms of servitude, bartering, social collaboration, charity, were eliminated from the Dutch society. This made the company the supreme dictator of laws (lobbyism), behavior (through its attached gold religions and the press books), and human goods (with a price). Yet by establishing an equality between man and object different from the syntax of verbal thought (man is the subject which through the verb acts and controls the object) it degraded the human condition.

The result was slavery abroad, massive wars and sales of weapons in Germany and against Spain, and wage-slavery and greed at home. The entire society of Holland changed its behavior. It became only interested by money, numbers, and the reproduction and evolution of machines (sciences).

While the use of rhetoric images in the press, (studied somewhere else) substituted the sacred art of painting in churches that became naked of all form of art. So images also were degraded from sacred painting into propagandistic images in books to the service of the political goals of companies (books against the pope, images of Spanish cruelty with Indians, etc.)


So our human essence, our times of existence, now became divided in clock hours and bought with a piece of gold, that soon became a piece of paper, reproduced in a simple press (stock share, or paper money). With those two tools, to which the Company added its essential product the gunboat and the gun, the entire Dutch people, started the Northern Work-alcoholic civilization to which we all belong today.


War expands the press-clock-companies civilization worldwide.

Of course the process of extinction of verbal civilizations by digital civilizations has been long, and full of battles and struggles for survival, by religious civilizations and legal nations. It started in the legendary battles between  Holland and England – the first digital nations ruled by political numbers (democracies), monetary values (stock-markets that reproduced money without limit in paper), machines (company-mothers in control of governments and laws through lobbies), digital science and the press (that substituted religions) – against Portugal and Spain – the last nations ruled by laws, verbal power, religion and the arts.

The battle was won by digital languages. The designs of gunboats made with science were better than the designs made with models proper of Southern Europe. The capacity of people to work unending hours increased when they were paid in gold, compared to their capacity of sacrifice for legal reasons or ethic or religious reasons. Finally the evolution of machines by Northern nations added new power to them and Southern Europe, the last Human civilization in control of this planet died away.

It is then when it starts the devolution of human thought to inferior levels of perception… Words declined as the main non-fiction language of mankind. They  lost their ‘social temporal dimension’ becoming tools of description of individual events, as they were probably in the Paleolithic. Finally they lost rational meaning, and became as they are today, tools for fiction, lie (marketing) and propaganda of the alien language and machine species.


3. XIX C. Bodies of Metal. England expands worldwide the Companies’ culture.


The Protestant civilization based in the degradation of man and the human will and languages, and arts of perception substituted by the will of Gold, and the machine, started as soon as company-mothers were created. It is a continuous trend that merely increases its despise of man, and its worship of gold. So it shows already in the first forms of the Calvinist culture in Holland, in New England, where colonists were controlled by company-mothers that gave them all what they needed to survive – in exchange for work as indenture servants, and in England, where had to fight against the renascence tradition of its catholic warrior kings, but finally imposed itself in the XVIII century as the Dutch king bought the English crown. So we consider the XVIII century the beginning of the Northern Protestant civilization, expanded from the small Dutch knob to the secure, well protected by gunboats land of England and North-America, where it could develop fully without danger.


XVIII century: Northern Protestant civilization

Censorship of sacred visual art, with man as center of creation.

The first Protestant gold religions expanded press, and destroyed sacred art. This was the basic trend of their ‘visual arts’. Respect tot equality of the press, to the service of political goals, is self-evident. Satyr, economical information, gore against the Spanish, with massacres, that make Theodore de Bry the main artist of the age, are the rule. Some courtesans dare to import second rate copies of French neoclassicism. That is all.

They do not fare better neither in visual arts which they systematically forbid, misunderstanding the concept of sacred, art, and saving in any case money to their new Golds, or in verbal arts, where the increasing power of money and company-mothers impose a growing negative vision of man, that does not however criticize money the new gold.


Verbal art: degradation of man, worship of money.


Hobbes consider man a wolf against man. The Leviathan becomes the most admired piece of English Literature…  On the other hand Mr. Adam Smith considers gold not the cause of all our sufferings but the invisible hand of God.

The absolute trend of the human baroque that blames only man of its degradation not money and weapons become a feature of the new Protestant art, that foresees the Industrial evolution.

It is the age of Protestant texts, in favor of Gold, in the Calvinist tradition. Jewish and Calvinists control the press in Holland and Germany, then after 1688 when the Dutch wealthy company-men buy out the English crown for William III (glorious revolution), that control which Cromwell established, becomes definitive. It means the beginning of the English Industrial civilization that flourished in the XIX century and expanded worldwide to the rhythm of English trade, English armies, and English Pounds.


The selection of culture: degrading man brings you success.


The key element to understand culture during the baroque age is the ‘selection of culture by the castes in power’. During all ages of history individual genius have been able to access the ethics and aesthetics of man. Yet their social function has always depended on the castes of power. In a few cases, animetal civilizations have lost that role of control of the languages of power to ethic religions, or social groups. Or in baroque ages have abandoned that task, allowing the true artists to express themselves freely. That is the fundamental reason why in certain ages the number of great artists has multiplied, the artist has felt himself sacred, and within an environment of human masters it has been able to reach perfection in his understanding of the human canon. This happened in the earlier fertile crescent before the Semite age of Bronze animetals, it happened in the Greek age, when a few aristocrats in search of beauty ruled over the trading groups of Athens. It happened in the Middle ages, when a single church hierarchy could manipulate multiple feudal lords, who believed in God. It finally happened in Rome and Florence, during the renaissance, when the Pope and an artist-trader dynasty, the Medicis, controlled Florence. It happened in the Mayan civilization ruled by priests. In a middle road between the rule of Wor(l)d masters and the rule of animetals, certain societies have divided roles, and shared power with priests of Wor(l)ds. In those societies also art has been able to thrive with minimal degrees of beauty. However, with the arrival of Company-mothers and Go(l)d religions, backed by military kings, in all Europe, sacred art became totally secondary, and perceived often as a danger to society. When Cromwell took power in England, that tendency established itself in the Jewish-Germanic (Protestant) culture, never to abandon it any longer. In this manner mass art became fundamentally negative art against the will of man. The few individual artists produced by the Jewish-Germanic civilization will for ever since become isolated individuals, with tragic ends, only resurrected after death, into the public taste. This would be specially truth of verbal masters, in as much as visual art has lesser informative power. A simple list of the great writers of  England, shows their amazing solitude, social incomprehension when they matured as writers, and final abandon. Shelley escaping to Northern Italy, Byron escaping to Greece, both in search of those renaissance ideals of the sacred artists, in the transition from the age of Companies to the age of Bodies of metal, had both tragic deaths. A century latter the new master of English theater, Mr. Wilde would die abandoned in the capital of the Southern Social Europe, Paris. The 4 masters of the English literature in the XX century would be also from the social-Catholic Irish, or European tradition – Joyce, and Shaw, Irish, Conrad, Polish – or born in foreign lands, dying abandoned and poor – Orwell.

This is not coincidence. The authorized writers, of England would be all those who degraded the human nature in non-fiction (the cynical school of English thought: Smith who affirmed to do evil was a sign of wealth, Malthus who considered poverty was caused by human reproduction, Darwin that denied Social evolution the main role of biological survival and affirmed only the struggle between species ruled the Universe, Ricardo, whose intellectual tricks to justify colonial trade had been explained in “Bioeconomics”, Hume, friend of Smith, who tried to show that men were only simple sensorial machines, the Stuart Mill saga of highly praised philosophers, the utilitarians who working in England as commissioners, tried to destroy the Taj Mahal because it was not useful…. a prove of barbarian art.

In fiction the same tendency towards simple dramatic, individualist or epic literature is evident, in the authorized writers of those ages: Bronte, which merely analyzed the inner, simples emotional feelings, as if the external social world did not exist, and finally Dickens, a dramatic second-rate writer who always blamed the individual, not the social system of the evilness of man, or Kipling, the epic writer of the British Empire. Either such pro-systemic writers, or gender writers, such as Scott that re-invented the Historic novel, or Conan Doyle who adapted Poe’s criminal gender to Britain.

The systematic selection of non-fiction and fiction writers harmless or positive to the system with a negative vision of ‘social evolution’ the enemy of Company-mothers and Gold religions, in as much as it evolves mankind without the need of money, is the absolute characteristic of the Northern non-fiction and fiction literature. It spread from England to Germany, where Nietzsche, the great pre-nazi philosopher that equaled animetals with ‘supermen’, instead of considering them what they are, sub-humans unable to enjoy without metal of the human will, is still admire as one ‘of the greatest philosophers of mankind’. Since indeed the ideology against the human will, the authorized ideology of the Northern European culture has continued in the XX century in Germany, England, and the states. The degree of corruption of that literature, selected by company-mothers of mass-media press, today in film making by producers, is even more surprising when we move to that age, and observe the genius and best sellers. For example 2 prime ministers of England, known by their conservative, racist, imperial ideologies, the Jewish-English Mr. Disraeli and the Aristocratic-militaristic Mr. Churchill who received a Nobel prize, were considered great writers.

In Germany the most respected Historian would be Theodore Momsen, also a Nobel prize, who made of Rome, the quintessential warrior society, without any artistic creativity (all Roman art is a low class copy of Greek art), and converted it in a model for modern European empires. While Marx whose economical writings we have corrected in depth in bio-economics, but whose standing as the best historian of the XIX century has no possible argument, lived in perpetual hunger in England… While the greatest XX century fiction writers in German language, Mr. Hesse, and Mr. Bernhard, abandoned their countries, and lived in poverty in Switzerland, the latter so disgusted by post-Nazi Austria that forbade to publish his books in his country. And yet as time went by, the few genius artists that rebelled against the establishment have survived, even if they could not influence their age, and become role models to improve society as they tried and many times could do in the renassaince.

That clear difference between the Southern European renassaince and the Northern European culture explains the different role of artists, and the easiness by which metal-minds have corrupted the artists of the XX century, after centuries of well paid corruption in the English culture.


The corruption of verbal languages by digital science.

We already dealt with the errors and dogmas of digital science, which are not superior by all means to the knowledge acquired by verbal religions of human social survival, and their modern version Theory of Social Evolution and struggle between species. However in the Goldiron culture, not even the partial version of Darwinian evolution is accepted. Only digital science is truth, to the extreme that evolutionists are banned from receiving Nobel prizes – the maximum honor to the non-fiction human thinker. The result of course is that all verbal forms of non-fiction are scorned as non scientific, and all silly-nilly theories of reality based in digital models or computer models are considered truth. In this manner man is further degraded and considered inferior to machines that speak better digital languages. The process started with the clock, the press and the scientific method in the XVII century. The press permitted the free reproduction of digital languages, and money reproduced with paper money in great numbers, creating an extreme interest for digital systems of perception of the Universe. Company-mothers and armies needed weapons, and Saint Galilee of Ballistics, the idol of scientists provided them methods that accurately measured the shooting of cannonballs. Both the development of financial systems, and digital science went hand in hand, with power, reducing further the interest of people for verbal modes of knowledge. The tendency today has spread even to History and Social sciences (see Biohistory) which has adopted the scientific method with all his spatial errors, and incapacity to describe temporal events as the authorized method of knowledge. So we prefer to research fossils of a Scythian tomb that read the magnificent, accurate description of a royal burial by Herodotus.

As Stock-markets appeared further increased the quantity of money there was in the market to value reality in digital terms, stockrats became the biggest sponsors of universities and favored systematically science over humanities.

A new religion, the religion of the number appeared when science affirmed with the scientific method that digital numbers were more accurate that words, and knowledge had to be expressed in mathematical terms.

This is not truth as we have seen, but a mere dogma that systematically favors the evolution of digital languages, and digital machines over verbal languages and human beings who speak biologically those languages.

However, men, ignorant of those facts, believed the scientific dogma, and praised mathematics and machines. Knowledge and science became mathematical. Company-mothers of machines developed with money systems of reproduction of machines designed with scientific numbers. And machines also became top predators of mankind in the form of weapons, today in the form of computers. While a system of power based in numbers (democracy and vote) also became dominant in the political arena. That parallel multiplication of all kind of digital systems of power, made Holland, where most of those systems originated, the center of the world in the XVII century. Then from Holland to England, and from England to America, digital languages of power spread, and defeated all verbal systems of power. Today with the arrival of machines that far outperform man in digital languages, the process means a globalization of economic ecosystems, the disappearance of the law as a system of power, and the degradation of verbal languages, substituted by digital languages – images in machines, computers and mathematical models of computing, monetary bribes that control laws through lobbyism. It is then clear that mathematical languages now control History.

And all verbal languages become degraded, since there is only one language of power today in this planet.


Mathematics and machines impose form and size in spatial arts.


Of course the outcome for art, was a further degradation and despise of artistic forms, which imitated the irregular forms of reality and the human body. Art would become then geometrical and imitate the machine, and the properties of iron and metal. Architecture is the most classic example. Apart from the genius of Gaudi, Wright, and Le Courbusier, by far the best architects of the XX century,  able to use curves in architecture, the international, geometric style, becomes dogma of XX century architecture.

The example here is obvious. Today any architect will affirm that those 3 artists are the best architects of the past century. Yet they did not create a school. It was the Bauhaus, what created the International, geometric style that all people follow. Gaudi, a religious social man, died ignored, and killed by a tram, with his master work, the “Sagrada familia” still unfinished. Mr. Courbusier was not even an architect by profession. Only the genius of Wright, the less organic of the 3 architects found easy expression, but he was by no means a popular architect, and many of his works were just homes for individual sponsors, with very little work paid by the great sponsors of modern architecture, governments, Town Halls, and great Industrial companies… Those people loved in the XIX and XX centuries, simple, geometric, rational, iron based, bridges and buildings, with total disrespect of the human proportion, the environment in which a good building should integrate, and the inner harmony of spaces, that often leaves little mark in the external form of the building, but defines good architecture, as a work made to be enjoyed by the humans that inhabit its space, and need human forms, and human proportions…

Instead the British iron masters started the tendency towards lineal architecture imitating iron, and big buildings, that the Americans took to its final consequences, the skyscraper.

The same phenomena is obvious in industrial design, of any kind of machine, that starts normally as an imitation of human forms, or at least using human materials, and carbolife materials (wood, leather strings). Yet systematically all machines have evolved towards metal materials, and lineal, geometrical forms. The gunboat, started in wood, with rounded form, and decoration which traditionally ended with a feminine figurehead on the bow.

In the XIX century it arrived the iron boat, decoration disappeared, and lineal forms substituted rounded forms.

In the XX century the car also started with curves, and now it is a lineal form or a computer designed efficient egg-like form of minimal wind resistance.

Furniture which had reached its peak of bend forms during the end of the French renaissance – first became lineal, simplified, and finally used iron and artificial materials.

The tendency – you should notice – is imposed not only by the need of stronger metal materials but by the ideology of loving mathematical forms instead of human forms, since chairs do not require those materials of forms, except as an ideology need.

So happened to fashion that was simplified in its forms, and became lineal, with the quintessential tie-jacket-trouser-shirt official dress of the company-man.

Company-men the main characters of this age of machine evolution are indeed lineal, geometrical, anti-feeling, anti-human, digital, programmed simple man, that have perfectly absorbed all those ideologies explained above. They became the center of the new civilization. And all what the British-American civilization has of original comes either from rebels and outsiders to that culture belonging social cultures (blacks and Italians in America, from Jazz to Coppola: Irish writers in England,  etc.) or from people who loved and imitated the Social-European culture (Proust, Marx and Trotsky the Jewish-Christian converted masters; Orwell or Hesse, so close to social Catholicism,  etc.)

Yet company-men are the mass of human beings. Their stockratic elite controls our society, the mass of employees forms the great bourgeois groups of our cultures, the slave-workers of those companies, in the past at home, now in third world countries, are the enemy-repressed groups, demonized by the culture; and finally the rest of us are consumers of their products, which finally made us also geometrical, and machine-like as consume makes us a little bit more what we consume…

The geometrical, industrial culture expanded even to the most simple human goods of man: food became fast food, and design of food became more important with the Nouvelle cuisine that taste. Dietetics based in a total misunderstanding of the health properties of food, has become supreme, to create a series of terrible food poisons in the English tradition of having food that tastes bad, so the human will and the time dedicated to food diminishes, to increase the time dedicated to work. Now we face genetic food, and artificial pills, industrial processed, poisonous meat, and of course, Scotland where that process of industrialization of food started, is today the country with a bigger number of cancerous cases per capita, and England is where the new mutations of poisonous food (mad cows) appears first.  In many ways the study of England today, with his obvious decadence, despite the thrilling wealth of its stockrats in London, is  a prove of how far all human goods and arts of perception have been degraded by man.


England expands worldwide Victorian repression.


So the XIX century is the age of England, in ‘authorized culture’, as it is, in economics, and politics. Yet the real artists of that century, are the rebel artists, mainly from continental Europe, and France, from social Europe that despised and rebelled against the industrial evolution and the conditions it threw the mass of human beings.

From 1770 till 1928, English gunboats and Railroads; Pounds and Stock-paper dominate the world and the will of man. England has the currency, and the product, not the culture which is European. But England does not care. All are gold believers. The corrupted parliament and king legislate for the City and its stockrats. The rest are not chosen of Gold.

London is a filthy city, but the ‘City’ is a paradise of free money, and new machines.

It is the age of the English culture, much more repressed in its human senses, to cater for the increasing needs of “enzymatic” work that leaves little time for the Human Goods and art, natural to previous French and Italian cultures.

The culture of words is submissive to the needs of the industry both in Law and books. The cynical school of English thought [Malthus, Darwin, Ricardo, Smith], is always in favor of progress and war against the poor.

Of course the surplus of poor, the obsolete labor thrown out by machines, is dumped by the English empire in ‘colonies’ where natives, [less technological people], are treated with various degrees of sophisticated harshness, from wage-slavery and extinction, to ‘legal dispossession’ [America], to provoked famines [dispossessed Irish peasants], to complete slavery [Africa], to outright extermination as official ‘non-human forms’ [Tasmania], or ‘enemy forms’ [Amerindians, Australians].

As stock-money for railroads grows faster, human goods diminish faster, and poverty and social tension increases.

How authorized culture responds to that obvious corruption of the human ethic?

It approves it, it simplifies it, it describes it with digital numbers, and for those who still hate reality invents genre, escapism, total fiction.

Editors in London do not pay social books, or Irish hunger portraits, but Turner’s paintings of trains, and Scott’s escapism to the middle ages. While Mr. Conan Doyle becomes king of the game with his detective stories…

The reason why England is such a desert of good art and literature has therefore a simple explanation. Good literature is relevant information about human ethics and aesthetics that in the age of the machine has to be forbidden.

A final aspect of the English culture will make that easier those simple forms of literature: the syntax.

The selfishness of the English language.


Indeed, a fascinating paradox that explains the easiness by which digital languages substituted in the English world, the verbal languages as tools of power, might be the fact that the English language is among all the languages of the modern world, the most simple one. So as in the case of the Jewish religion, the most primitive of all religions, that gives birth to the highest number of atheists and adepts to science as a religion and Go(l)d as the invisible hand of God, the English language, a poor language to express philosophical truths, gives birth to the highest numbers of digital believers, of believers in the languages of digital thought, of science and money.

The higher truths in man are verbal because the language is the program of man. So without understanding verbal languages and its syntax we cannot understand culture. Languages in that sense fluctuate between Max. subjectivism in his form of knowledge (English in which the Galilean paradox is maximum)  and Max. objectivism in Chinese, (with his Yin-Yang, dual, multiple structure]. The absolute subjectivism of the English language is obvious, since all sentences have to start with the pronoun, which cannot be hidden, so the individual I becomes  the center of the universe].


This makes the Chinese social beings, that have small egos, and can easily build social organisms. It also makes English-speakers (English, Americans) natural self-centered beings as their culture and history proves. Languages create forms of Human behavior.

English is a language constructed under strict rules of selfish, individual Thought, and spatial perception, which do not allow easily to form social  relationships, and believe in a human future:

Words are short and cannot be socially connected.

The proper subjunctive form [a virtual future we fight and wish to reach] does not exist.

– Verbs are always in present, and have no declinations. They require a second particle for it. So temporal perception is reduced. Often the verb is the same than the spatial name…

Those higher forms of syntax allow the harmonies, of Chinese, German or French, languages that make their literature far superior.

While in English Literature is dramatic, individualistic even in his classic forms [the Bible and Shakespeare, based in Myths and Dramatic ideas).

Further on, the repression of the human will is so old in that zone of trader power since the age of the Amber (see ‘Biohistory’), that words for Chemical perception are minimal.

To say love, there are few languages with less synonymous than English…

All this explains why the English culture lacks human social, emotional, temporal depth beyond individual systems of dramatic thought regarded as an inferior mode of understanding. It also makes English philosophy quite deficient in intellectual heights beyond single-causal descriptions of reality.


Languages are reflection of animetal cultures often, which is clearly proved by the complete different evolution of German towards warrior=bondage structures of max. accuracy, in verbal thought; and English towards trader structures of max. dissolution=freedom of language. A language is the evolutionary soul of a race, and so as Humans loose today all conceptual-temporal intelligence, preyed by image languages, English further devolves in A-merica, reaching degrees of simplification of the Paleolithic.


In Present times, English is the language of machines and science, and so it has been modified to include hundreds of thousands of scientific words, while still lacks a basic vocabulary and syntax to express human social evolution and human feelings enzymatic process.

It is fascinating to see how English however as such a simple language includes some basic ‘programming words’ embedded in the purest concepts of an animetal culture: god and Gold are so similar words that a man might confuse them. Evil and Live on the other hand are opposed words, as if there were a subconscious intelligence in the language.

In any case to express human ethics in English, the syntax and semantics are poor, and the Word has been rhetorized so many times, by Gold religions and Gold ethics, that there is almost no values in the Wor[l]d.

The highest moments of English took place 400 years ago by a baroque Italian, called Shakespeare, and a few translators of Bibles.

His devolution in America, in the age of spatial metal-minds, though is impressive.

So today the Americans have nothing better to put in their literature shelves that rerunnings of those writers. Since even if there have been other writers, such as Orwell and Auden; and non-English Human masters from Ireland to India [notably during the mentioned English baroque, after England lost  the ring of the Go[l]ds – the world currency to America – in 1929, that partially freed the English literature of his servitude to money], today repression of good literature in mass-systems of learning continues.

I studied in Columbia, the most free, best literary university of America. Sade, and Marx did not exist in his library. Why? Sade is the man that freed totally sexuality, the individual pursuit for pleasure. Marx freed totally the social spirit against the machine. So they are forbidden in America. They are ultimately expressions of different forms of total freedom in the human individual and social will.

In any case in the age of spatial metal-minds, the degradation of vocabulary (10% every decade since TVs appeared) makes complex Word no longer ‘readable’ by young people, as the brains of the neo-Paleolithic men are fed with simple image-ideas from TVs. So when English has matured as a social language in the hands of foreign languages, it has found no audience.

3. The European baroque. Its 3 ages.


It is then clear that the XIX century is the age of digital languages, and Anglo-Saxon cultures, of machines, science and money, where art becomes secondary and human senses are substituted by scientific machines. And yet real art does not die, but it expresses the agony of mankind, and his linguistic evolution throughout Europe, specially in the Southern Cultures where digital languages and science, had been resisted for centuries. We talk of the European baroque, that follows the other 2 great European civilization, the young age of the Greek-Roman civilization, and the mature age of Christianity ended in renaissance. Now as the Industrial evolution spreads to Europe after the cataclysm of the Napoleonic wars, an age of decadence and suffering in art becomes the rule. The artist suffers the invasion of his sacred territory by digital languages, and enters a baroque age, which itself can be divided in 3 sub-periods. Let us study them now.


Old Age Of History: The 3 Ages of the European baroque.


The age of Metal Bodies, or age of Europe, or I Industrial Evolution, or Verbal Human baroque, lasts roughly after the slow beginning during the XVIII century, from ±1770, when the Steam Machine is discovered till ±1914 when Planes start its military evolution and Europe enters in the war that will destroy the culture. The Dominant Civilization of this age is obviously, Protestant-Scientific Europe. The Metal Ecosystem based in Machines-bodies and Paper-Money as the language of information of society, dominates totally the  Human Ecosystem. We can distinguish in that European civilization 3 sub-species, based in the different degree of dominance of the main languages of History:

– The British Empire, which is Money Dominant.

– The French Empire, which is wor(l)d dominant, where art will reach its height.

– And the German empire which is War Dominant, and will be therefore the warrior nation that will provoke the final collapse of the European age of machines, when bodies of machines become over reproduced and are transformed into weapons during I and II World war (see cycles of war, in “Bio-economics”).

We talk within that age of 3 ages, which are parallel to the 3 ages of its art, signaled by 3 basic ‘bodies of machines’, that expand the ecosystem of machines worldwide:

– I young Age: ±1770-1814: the age of Gunboats, with total dominance of England, and profusion of simple epic art and literature that consider money and science gifts of God.

–  II Age:1857-71: the age of Railroads, the mature age of the civilization of Bodies of machines, when Europe reaches the height of its power, and the civilization expands to the continent.

– III Age:1914-45: The age of cars, Tanks (the top predator weapon car) and the first Planes, the age of decadence of Europe, and his baroque age in culture, since new external nations (Japan, America, Russia) are taking over, in the evolution of machines, and will dominate the world to come.


Samples of the 3 ages in Painting and non-fiction literature.


Let us then analyze the 3 main periods of this Industrial age, with works of the epic, realistic, and baroque age of modern Europe, before the I and II World War extinguished the Northern European culture mainly with English art.

The epic age of science and machines, is represented by the idealistic paintings of William Blake, with his ‘god-scientist’, ‘The creator”.  What science was about to create, however, will not be a world of pleasures, but of iron, coal, pollution, slave-work for children and the poor.  So as the XIX century advances, bringing new wars and endemic poverty, artists abandon the romantic vision of science. It was time to show what those machines really were, and what their effects were in mankind.

We enter the realist age of Modern Europe. Some artists will show the machines of this age, in a realistic style, full of smoke and speed  ‘Turner’; ‘Rain, wind and speed’. Some will try to fight the realism of photography with new depths of visual perception [Impressionism].

Soon the world was covered by bodies of machines, and the most expensive of them, were weapons. So weapons were used in unending wars, in which railroads, planes, tanks and artillery will massacre human beings. Artists finally will gather together, against the industrial evolution in the movements of the -isms, from nihilism to expressionism, to cubism. It is the baroque age of Modern Europe.

Some artists will show the poverty and suffering of the poor, mainly in continental Europe, where the propaganda in favor of machines is not so extended [i.e. ‘Potato eaters’ by Van Gogh]. Some will escape in search of forgotten paradise, or inward in the self-analysis of their spirit, both in literature as well as in painting [Gaugin, van Gogh, symbolist poets, Poe, etc.]. The decadence of human art, and its extinction is foretold, by all those artists, that reflect the suffering of the human spirit. We could talk of a general age of ‘deconstructivism’, of the human spirit, in body and mind. An old age in which as an old man becomes a child, artistic expressions break into their basic components and then simplify till the final white canvas of the 50s. We represent this age with a painting by Picasso. Picasso’s standing as the master of the Human baroque in painting is obvious, though we could have also used, some example of the English baroque, which imitating Picasso in painting, and with remarkable originality in verbal thought developed after the I World War. Indeed, as England lost its global power to America, an impressive array of British baroque artists, by far the best artists of English XIX-XX century art  appeared: Bacon and Moore in painting and sculpture, Orwell in fiction writing, Huxley, and some external verbal masters writing in the English language, such as Popper, with his critique of science, in the post-war age.

Because with the  two world wars Europe died away, as a new power, with a new weapon, the atomic bomb, and a new species of metal-minds, now visual, the Television and the Computer, took over. It would be the age of America, the II human baroque.


In the next graph, some texts and artistic images of the I Cycle of the Industrial evolution:


        Artistic Ages: Visual Art:


Lineal, Simple                        Realism                      Formal, deconstructiv-isms

Blake: God-scientist        Turner, Rain,  wind, speed,         Picasso, Spanish queen

Verbal Art:


I Age: Epic, arrogant      II Age: Sensorial, Logic      III Age: Baroque, Extinctive


“Money is the                           “The capital will                  “Money is a cyclical bit of metal

invisible hand                            expel all workers,        information, that reproduces machines.

of God”                      from the industrial process,             The fittest of those machines are                            [substituted by machines]”          weapons that extinguish Human beings”


Smith,  Wealth of Nations      Marx, The Capital                           Mann, Bio-Economics


God has waited                                                                                              “E=Mc2″

5000 years for an                     ” A struggle for existence                    “The scientific method

intelligence similar to his,         inevitably follows,                             evolves metal-senses and that could understand         from the high rate at which               digital languages that make

the Universe”                                all species reproduce”                 human languages and

“The language of God                                                                                 minds, obsolete. ”

   is mathematics”                                                                     Einstein: equation of Energy.

Kepler, Memoir        Darwin, Selection of species          Mann,  The errors of science



Non fiction literature.


We have chosen texts of non-fiction literature, in as much as it is the literature that creates the future of mankind. In this age of digital languages, obviously philosophy and religion give way to science and economics, which become the new philosophy and new Go(l)d religion of the age. Indeed, now we believe scientists as the genius of knowledge, and we believe in Go(l)d, in money as the language of power of our society because we no longer believe in words used by philosophers, and ethic priests. So the relevant texts of the digital age, of the old age of history are non-fiction digital texts of economics and science.

The extinction of verbal knowledge, of philosophy by science, and the extinction of verbal languages of power, of ethics and laws by money is completed in this age.


They create=credit reality. Indeed, in our culture no longer words but digital information, money creates reality. he who has capacity to invent money can pay others to do whatever he wants. This elevates the Jewish-Anglo-Saxon castes of Stockrats with global control of stock-money (by far the biggest quantity of money invented today) to the supreme power, expanding his doctrines of science and gold religions, that are shown in the texts, in the epic age of the European baroque. Since, indeed the castes of power have not changed their simplistic, epic vision of economics and science, for far more sophisticated ideas, that came as humanist writers studied the phenomena of money and science.

The age of Bodies of metal can be resumed in those texts, of non-fiction writing, which is related to economics and science, in as much as the world of human senses and art has become irrelevant, to the world of machines.

It is the essence of the European age, which started with total cult to machines, in an epic age in which scientists and economists compare themselves and their instruments of power – money and scientific machines – with God. As the economic ecosystem developed, however, it was obvious that things were no so simple, and the realization that machines and money had brought a brutal ecosystem in which man no longer obeyed the law of social evolution of religions, but was a beast to other men, brought a more ‘realist’ vision of society. Unfortunately neither Marx, the master of realist writing about money or Darwin and Butler, the masters of realist writing about the evolution of species, realized that men had been hypnotized, manipulated by machines. So they accused man of being the main guilty of the struggle for existence, that machines had provoked in human ecosystems. Marx accused animetals without focusing in the lethal and hypnotic properties of money and machines. Darwin was even worse: he ignored social evolution and affirmed that all species fought for survival, including humans among them. This was of course false. Yet it was highly publicized, because it validated ‘scientifically’ the behavior of animetals, with the mass of human beings. The result of those realist, yet biased pro-machine ideologies, was a continuous struggle and worship of machines throughout the entire XIX century that ended as all ages of machines (see Cycles of war in ‘Bioeconomics’) into a series of wars that extinguished Europe, as top predator machines=weapons were used to kill human beings. In the world of science, scientists kept making weapons as Saint Galilee of Ballistics have done.  And the last of the scientific masters, from the Jewish-Germanic civilization, Mr. Einstein, created the theoretical basis for the atomic bomb, recommending his construction to the American president.

While in the world of Economics, a series of writers discovered at the end of the XX century bio-economics, the biological nature of economic systems and machines. But his work has been ignored, and censored by the authorized schools of Economical thought, and it is still unknown… Such is the fate of the great fiction and non-fiction verbal artists in the age of metal-bodies: poverty, ignorance, censorship and silence, within the great mass-media systems of reproduction of information controlled by metal-communicators…

While in the field of science, also the growing awareness that science is not the pursuit of knowledge, but a dogma that evolves machines appears. Indeed, mathematics is not he language of God, but only a language better spoken by machines, with relative truths. Machines do not perceive the total Universe but merely perceive more of it than human senses. Problem is that as we evolve those machines we men become atrophied in our senses and minds, substituted by machines. We thus enter the neverland of increasing idiocy and incapacity to think We quote in both cases texts from this web that resumes the growing awareness of many scientists and economists, about the errors of their sciences.


We live in a world of products, not of ideas and culture. So the relevant ideas are those who define the products as positive and consider man negative, inferior to machines. In the case of Economics it is evident that from an epic age of Gold believers, the great texts of economics evolved into an understanding of the process of human social extinction and work extinction by machines (Marx) to the final understanding of Economics as a rival biological ecosystem to that of man (the work of this author).

Yet that understanding has come too late, and it is controlled, and forbidden to the common students of economics, which still are taught, the first simplistic texts of Mr. Adam Smith quoted above.


Non-fiction rhetoric. The lies of our scientific culture.


To understand those and other authors of the British culture, it is important to have in mind that all money and political power, which pays for art as is in the hands of the company – the City of London. Through monetary power, through credit, which has solid institutions in England, that controls directly or indirectly after the Napoleonic wars, the price of all world’s commodities; the British culture will expand worldwide.

From slave plantations in New Orleans to Coolies in Kwan-tung, men as commodities, and those who exploit them need English Trade. Through trade culture expands.

So it is the golden age of Adam Smith and Ricardo, of economical Rhetoric against labor and human rights. The Smith Dogma of modern economics [human progress=metal progress], becomes now a world wide, non-arguable truth, as dogmatic and false as the Calvin postulate: ‘Go[l]d is good. Those postulates are supported by force and control of the press, of the distribution of all other alternative economical doctrines [Marx will never sell in England].


The postulate hides the submissive position of man in the economy, to the evolution of machines. Instead British affirm that metal progress=happiness. And that happiness can be measured in GNP terms. They affirm that since man is completely selfish  [by all means a choice of animetal ethics not a necessity], labor can be brutalized as a ‘natural’ consequence of Human selfishness. Selfishness is indeed the law of God. As always the animetal evokes the name of Go[l]d to justify its selfish acts; and he passes that for a science. It is the age of the Cynical School of English Thought, of the economists and its anti-truths of man that still rule us as America in the XX century takes those ideas to the limit [what we are saying here is not past, it invents still our present].

Let us remember the degree of twisted cynicism of those ‘pillars’ of modern thought: the Smith Postulate [GNP does not reach maximum growth in wars, but makes men progress], the Ricardo Paradox [free trade does not extinct other cultures of lesser technology but ‘civilize’ them] , the Malthus Paradox [sensorial goods including sex, not the lack of credit to human goods, is the cause of collective famines], and the Darwin devolutionary anti-truth [devolution of species by hunting is the form of ‘evolving’ them, instead of social evolution in cellular herds that creates harmonic bodies with solidarious, different tasks among cellular tissues].

The fact that today we believe 4 complete lies so evident for a reasonable man, in an age heralded as the age of reason, means only one thing: control of information by company-mothers who only consider ‘scientific truths’ those who favor the ideals of machines. So we learnt those lies in earlier youth [today through the school system], and billion of men believe the most absurd truths. Mind the reader that those 4 lies structure with the Scientific=metal method [metal sensorial evidence is better than human senses], the American culture of today. They are absolute self-evident lies that all Americans believe.

They are going to extinguish mankind… What else can I say?!
All of them are Aristotelian analysis of truths, that blame the poor and the weak, and worship the metal-wealthy, the chemically repressed men, the master, and the technological predator.

None is more evil=extinctive of carbolife than the Smith Postulate which transforms all economical and mathematical statements in ideas against man survival [as the Euclidean Postulate that allows to price men as abstract objects]. This Postulate informs all modern economists, and the improvement of such postulate is prove of Economical greatness.

Thus in that XIX century, Economical and pseudo-scientific, Darwinian rhetoric of competence between humans, and progress through machines, substitute, the primitive religious ‘Baalble’ rhetoric of Chosen of Go[l]d, as the spinal chord of western companies in power through corrupted political systems. While sexual taboos to enhance work alcoholism, taken from the Baalble, are still in place.

All those non-fiction rhetoric truths, will become substituted in the XX century in America by new pseudo-religions of scientific sexual repression [Freud, feminism, political correctness], and economical power (the age of information, requires to evolve computers, because information is wealth.)

Remarkably the religious myths of XVII century Go[l]d traders, and its repressive sexual customs that enhance productive activities, are neatly transferred to scientific myths – with the same purpose of enhancing work – by its XIX century clones. From the Baalble to the ‘Positivist age of Science’, to the ‘don’t worry’ age of today, when machines work for us, nothing really changes: the machine is supreme and we adapt our culture to it.

The 3 ages of the European Baroque.


The previous examples of non-fiction literature shows what are the 3 ages of the European civilization of machines, born after the Napoleonic wars, and destroyed by the I and II World wars, between which the -isms represent the final baroque of all baroques, truly the death of complex verbal thought, visual art and literature.


So the Industrial culture of Europe, as all cultures is born and dies between two war cataclysms that erase totally the culture. And we can divide that Human Baroque in Europe in our 3 artistic stages:

– 1770, Youth-romanticism.

– 1830s-1914, Maturity-realism-naturalism,

1914-1950s, Baroque-deconstructivisms.


After the post-war existentialist movement and the final testaments of Orwell (1984) and Hesse (Das bean game) or Camus (L’etranger) Verbal literature never will reach similar heights in the erasing age of metal-minds. In that sense only Rome III Age (Spanish-American literature), which as we saw, in all cycles of culture, resists longer in time,  the end of his civilization (being the quintessential warrior top predator culture of Human Thought). has shown some vitality in the past 40 years. Spanish writers have produced works of literary quality by Fuentes, Cela, Cortazar, Borges, Sabato, Llosa, Amado, Carpentier, Marquez, and this writer. Interesting to notice though that the literary system has praised the most unreal of those writers, Amado, Borges and Marquez, leaving in a second plane the non-fiction or master-realism of Fuentes (Artemio Cruz), Sabato (Men and mechanic wheels) and Paul Mann (encyclopedia of Times). Indeed, the system will always promote in the Human baroque, fiction over non fiction, to prevent ‘thinking critique’ on reality. Hence Borges and Marquez, totally baroque in his fictions beyond reality are considered the great masters. While the non-fiction works of Sabato and Paul Mann are utterly unknown to the great public…


Let us now consider those ages for the dominant verbal form of this times, fiction. In as much as now only digital languages are believed, so art has to become fiction. Non-fiction art is scorned as false, because men only care for digital values, for money and science. So art looses his role as the guide of mankind, and becomes fictional, and artists to survive, no longer form part of the ruling, sacred castes of informers and role models, but are freed to the realm of imagination, a lesser world without social importance.


Youth, Romanticism.


Baroque history starts with the end of the Ancient Regime, of individualistic, selfish, aristocratic warriors, that left way to the Southern-European version of the goldiron culture of Company-mothers.

In between the cataclysm of the French revolution and the Napoleonic wars, erases totally Europe. The age of animetal warriors as top predators, laves way to the age of Animetal traders and company-mothers. It is a cataclysm of enormous proportions, since the age of Animetal warriors comes from the first Semite empires…  Only in the brief interlude of Greece I Age, traders took partially power without forgetting their warrior and verbal ideas. In fact, maybe the single  specialized Jewish-Aaronite culture, has been ruled by bankers-traders which ruled supreme in that culture, today the leading culture of the Metal-earth for millennia. Now the Germanic translation of the Jewish culture (Protestant religions) had matured, and invaded from his refuges in America, and England the continent, defeating the old warrior aristocracy, soon substituted by the stockracy of company-mothers.

Yet before the new civilization settled down the French revolution destroyed the previous top predator castes, and an age of freedom spread all over Europe. It is the romanticism. And some master artists appear in all languages, on the wake of that freedom of expression. Goya in painting, Beethoven in Music, and the great political writers of the time, represent that freedom.

In that sense, it is remarkable that for a while words again reach total power, and non-fiction writing, legal writing shows a remarkable freshness. Indeed, the master pieces of this age, are the Declaration of Human rights, the bill of rights, some of the constitutions crafted in this period, and the final masterpiece of the romantic age: “the manifesto of the equals’ by Babeouf.

Babeouf finishes his manifesto before his judges. He is the Socrates of Greece III Horizon. He knows in his final discourse he is going to die. But he does not bow in front of those murderers. Because he is a man. And a true man knows how to die, when the world in which we exist is not worth to live. As the trial of Saint Joan by the British traders, as the trial of Socrates by the Greek Traders, the trial of Baboeuf by the French leaves you uneasy. Because it shows the total cruelty, evilness and stupidity of animetals, the heroic standing of a human being. Yet he is alone, the human being, the human hero is alone, and the cruel shepherds are many and the stupid sheeps are thousand. “Four legs, four legs” makes Orwell shout his human mass, in the Animetal farm, happy with their slavish position. If men were many, if the mass would follow human heroes history could change. But men are few, and animetals know how to manipulate them. Babeouf truths are so harsh, that for 80 years their work is forbidden, and cannot be printed in France. The same happens today with the Unabomber in America, and his manifesto against robotics and the extinction of man. It is forbidden. Animetals want to commit suicide with happiness, laughing all the way down.

The end of non-fiction, political writing, with the Wien Congress, and the restoration of military power, now in a milieu of breeding industries of metal, brings the Romanticism proper, the total escape from that defeat of the Western writer. Many commit suicide, when not killed by the repressive animetals, that massacre human believers. The rebel Romantics of England had gone into escapism earlier, as Britain is a monolithic industrial nations controlled by Stockrats since 1688. Byron dies in Greece. Shelley goes to Italy… Werther is indeed the most pure image of this age. To die or not to live, that is the question.


In Painting it is easy to recognize for a modern Neo-Paleolithic man, schooled in image thought, this age in the Romantic paintings of Friederich, the Pre-Rafaelite school, the Odalisques of Delacroix, and his symbolic paintings of the revolution (Freedom guiding the people). The supreme master of this age though, is an individual genius, which stands by himself, being able to transcend ‘the period’ into a parable of all ‘periods’, all youths of civilization, caused by the destruction of the previous civilization by war. He is Goya.  In Goya romanticism dies before being born. Because Goya feels already the false revolution, the false hope of a civilization whose real symbols are weapons and money. In his “war disasters” and war paintings he reaches an unparalleled height in the portrait of war, of the sacrifice of human beings, by lineal animetals. As Proust in sensorial painting, Goya will be the summit of war painting, since soon the metal-eye, the camera, will substitute him, and become the witness of war disasters in the next cycle of I and II World war. Acknowledging this change, Picasso, the master baroque of that cycle of war, will paint Guernica in Black and white, as the photographs of war were…


Mature age: realism


Once the Young age, the Romanticism of human hopes caused by the French R=evolution were crashed by the English-Prussian alliance, and the beginning of the Industrial R=evolution, the Mature-realist school of the age of the Machine is born. The writer now cannot longer escape the Industrial evolution. For one thing: that Industrial Evolution is also expanding beyond the European borders. It is obvious that Great Britain Rules the Waves and France follows closer, while America is busy extinguishing the Indian cultures. Realism imposes itself, because all is the machine. The railroad enters to the smallest territories and lands, and with it, the rifles of the white man. In this age the writer goes inward, into his search of pleasure (sensorial literature), or in social thought claims loud the real condition of our society. It is the naturalist and realist school that have in France, center of this Social European culture, his masters, in Victor Hugo and Emile Zola.

New countries of Social Europe (ex-Catholic, ex-Orthodox Europe) enter now the Industrial evolution as the wave of railroad expands, and new masters of realism as the century advances develop in those nations. Since ‘time is discontinuous’, the different schools of realism come in different decades, depending on when the country industrializes itself. Again warrior-biased nations show a higher strength of words, in front of trader-biased cultures. So Galdos in Spain, and overall the great two Russian Masters, Tolstoi and Dovstoyevski, towards the end of the century, as their countries receive the Machine, become also masters of a literature, which shows naked, the brutality of the new ecosystem of machines.

Realism will reach its height in non-fiction in the work of Darwin, systematically misunderstood by animetals to justify his brutality (since he talks of the struggle between different species, and men belong all to the same species, ruled by the law of social evolution.)  Butler, will translate that fight, to the fight between man and machine, and ignored by the establishment it will exile himself in New Zealand. Marx will highlight the fight between animetals and human beings, and will exile himself to England.

In Painting, the realist school also divides itself between the sensorial portrait (Courbet), and inner, spiritual depiction of the poverty brought about by the destruction of the agricultural world and the creation of ‘sacred machines’ (Millet). Of course in this age of machine-worshipping, Millet is not the preferred master, and ‘critiques’ always backing the last technological novelties, tend to disregard works like ‘The Angelus’, as minor masterpieces of art. Perhaps but for the people of that century, it was the masterpiece, the most lithographed painting of the XIX century in the XIX century. Realism of course explores also the technique of light with Impressionism, on the verge of baroque, as the photographic camera ends the testimonial work of painters.

In this manner the century ends, and the peaceful bodies of machines, exhaust their econiches. As in all other cycles of machines (see ‘Bioeconomics”), once machines have saturated peacefully the ecosystem of consumers, they become top predator machines. Only then the human mass realizes of the dual parable of the tree of science ‘with his good and bad fruits’. Only then just before the I World War starts, the European baroque comes in full force. It is the age of the -isms.

Impressionists studied the light=eye-universe realizing beyond the lies of science, that we see light, not reality in itself. They recognized that light is the maker of the eye=universe, and so the Human spirit went a step further in his understanding of space, beyond the simple scientific images of cameras.


Baroque age. The -isms.


In painting, the spatial lesser art of man, the baroque age had come earlier due to the invention of cameras.

The next step to Impressionist would be to recognize as Expressionists do, that the Human individual is the maker of the perceived Universe, so images are ‘thoughts’ as Picasso said (“I paint thoughts”). And since among the human thoughts, the most beautiful ones are feelings, Expressionists tried to paint feelings. They did that with colors, realizing that extreme, opposed colors provoke disruptive colors (Van Gogh), and similar colors, provoke musical harmonies and happiness (Gaugin). Both represent the fracture zone towards the baroque age of painting. Gaugin follows the tradition of escapism in search of human paradises (like Hesse will do in painting). Gaugin uses expressionism first for a massive social critique of the conditions of the people (he admired rightly Millet as the best painter of the age, and imitated him in  his first paintings). Yet the man who wanted to be preacher, and was thrown out of the goldiron church of Calvinists, because he lived with the poor, was too sensitive to stand reality for too long. So he finally moved inwards, into his own realm of suffering, starting in this manner the baroque of painting.


Indeed the Extinctive phase of the arts of Human eyes followed soon the arrival of metal-eyes. First photography then Cinema, and finally the most complex verbal metal communicators – radio, and TVs – all able to reproduce more information in greater quantities, implied the baroque of all  Temporal-verbal and Spatial-painting forms setting the stage for the present decadence of the human eye-Wor[l]d. In the age of Me[n]tal machines by the paradox of history (max. Metal evolution= Min. Human thought), the highest expressions of art [literature, painting] are all devolved by metal senses. So the artist moves inwards into internal perception, alien to the external territories colonized by machines, which do no longer reflect human beauty. Machines and authorized architecture and painting represent the geometrical beauty of metal structures – from buildings to weapons – that the animetal eye, worshipper of metal, finds of higher value than the human artistic forms.  Yet the true artists of this baroque age are not the Bauhaus architects, the Mondrians and Futurists schools, the designers of machines, but the school of human artists that Van Gogh in painting, and Kafka in writing started.

And again the common man, the real man loves Van Gogh, not Mondrian. And reads Kafka, both of them totally unknown, ignored and despised in their age.


Aristocratic literature: European sensorial literature.

Not in human quality but in quantity and promotion by the upper castes, it is remarkable the explosion of sensorial, individualistic literature in this age. It is after all a ‘harmless’ literature to the social control of digital languages over mind. It is also art, since after all we are individuals, sensorial beings, and the promotion of our senses is also important… once the ecosystem of social man, the body of history is properly designed, which unfortunately is not in the age of machines and digital languages.

Higher human cultures understand and promote all senses of man. So does Southern Europe. Even in the moments of maximum poverty, and exploitation, the upper classes of Southern Europe enjoy their life, the feelings of man, and an entire type of literature, selfish you might say, but still human in as much as explains those feelings and senses appears in France. From Chordelos de Laclos and Sade, to Proust, aristocratic, privileged men enjoy life to the fullest. It is the individual escape of the writer, hardly interested in the social tragedy of man. Still a literature of the senses far more developed that the equivalent work of the Goldiron culture (Bronte Brothers, Foster, Crompton in England, Wharton and James in America).

The difference between both literatures of the individual in pursuit of his sensorial realization is remarkable. The boredom and absurd dilemmas of the repressed Victorians of the Goldiron culture, contrast sharply with the open passion and freedom of feelings of French literature. It shows how good writers, in a society which represses systematically the human will can do little to create interesting works of art.  Only total transgression might create some ‘readable books’, such “Lady Chaterley lover”. Yet compared with the natural sensuality of “Madame Bovary”, the spasms of Lawrence leave no doubt about what woman we would like to have at our side…


The evolution of this kind of literature, has as all other artistic forms, of the European baroque (European age of the Industrial evolution) 3 clear ages:

– Youth, the romantic age, inaugurated with Goethe’s “Werther”, master piece of full love. At the same time, we are witnessing the end of the previous age, the French renaissance in the baroque works of Sade and Chordelos de Laclos that show the limits of corruption and complexity in the world of reproductive emotions. Sade is the last baroque master of sex, of that long lasting sensorial renaissance; Chordelos the master of emotional manipulation. As the Ancient regime which defeated the ideals of Christian religion, ends his baroque, the new civilization is born, with all the ideals fresh, and pure – the ideals of Werther.
The contrast between both kind of books is amazing. Sade and Laclos are the old men of the ‘Ancient regime’. Werther is the first artist of the new Europe.

– Soon that romantic youth is seen excessive, a waste of pure energy, and literature of feelings become realist. The master of this age is Flaubert, and “Madame Bovary”, opens up the classic age of XIX century literature.

– Yet as Europe itself comes to an end, with the final collapse of the I Industrial Evolution, in I and II World War, again we witness the baroque of the sensual culture. It is Proust, in so many ways similar, yet evolved in style and technique, to Laclos and Sade.  Again we can compare that masterpiece of the literature of individual sensorial search, with his baroque, complex style, and sensoriality, with the equivalent in English Literature – the Ulysses of Joyce. By all means overrated as all what is written in English, the falsity of the feelings and situations of Leopold Bloom sharply contrast with the richness of the sensorial world of Marcel. In as much as the new age would be the age of metal-minds, that simplify feelings and verbal thought, bringing the Neo-paleolithic, “Remembrance of things past”, specially his first book, “Swann’s love” can be considered the final master piece of Sensorial literature, that probably will never be overcome, now that men enter the III Industrial Evolution, the age of robotics, the age of extinction.


Poetry and philosophy: analogic thought in the age of the machine


We have left for the last place, the analysis of poetry in the European baroque. Poetry is the analogic, higher form of thought with philosophy.  It is not though a good age for poetry and Philosophy on the nature of man. And the system promotes precisely the worst species of those analogic forms of art.  So the mediocrity of poetry and philosophy during most of the European baroque is remarkable. Only at the end of the period, they escape the iron control of ‘distribution’, and freedom of form and rebellion appear. The symbolist school in France inaugurates this baroque of poetry. The verse becomes free, the themes turn to pleasure-seeking ideals, and total criticism of society considered eviL in all its industrial forms. In America Poe with his nightmares anticipates the Symbolists (Baudelaire had translated him to French). The poet though is not so much concerned with the social group but with the entire Universe and his analogic forms. That isolationism exaggerates even further the solitude of the poet closer to madness. Dickinson and Poe in America,  the symbolists in Europe, live in poverty and solitude the fact that among all higher forms of words, the one that aspires to pure knowledge, and pure beauty is the most remote form in a world that ignores totally beauty and temporal knowledge, only worried by space, energy and the machine. The cycle of rebel poets will end with Apollinaire, intimate friend of Picasso, which is to painting what the poet of ‘merde’ was to words. He died though from his wounds in I World war.

War indeed would end the -isms, and all forms of art.





4. Transformation and degradation of human art by techno-art.


The levels of complexity of human art.

To understand fully the levels of verbal art, and pictorial art, that disappear with the simplification brought about by machines, and then by metal-communicators (radios, televisions, film) and cause the final baroqu-isms in all human cultures, we might consider all those forms of art, in first place by its complexity, which is not only caused by the quality of the artist [human mental complexity as a mirror of the universe] but also by the quality of the art [linguistic complexity and complexity of a style that sets rules and limits].

This second kind of complexity is the key concept to understand the process of obsolescence of human art to metal-eyes.

Since TV-thought is able to gather so many arts in a single form.

Let’s analyze the quality and Complexity of human arts, by the real measure of linguistic evolution, beyond Digital rhetoric of individual vainglory, marketing of ‘freed’, violence, war, and sales of Top Predator products: according to the Universal Laws of Complexity.

They determine the quality of a form of art, not only by the intrinsic sincerity and freedom of the artist in its reflection of the external universe [partially conditioned by the Animetal castes and its repression of art] but by the style chosen by the artist.

Since certain styles are limited by the medium and format used to be simplex forms of arts, and hence of inferior quality. And hence promoted by Animetal. coalitions.

Such as Theater promoted in Anglosaxon=Company-mothers cultures over literature, or drama promoted also in those cultures over documentary, social realism, and parable film-making, forbidden systematically in Hollywood for both, profit and political reasons:


Levels of Artistic Complexity.



In our graph of Art based in Human complexity [not technological complexity], current dominant artistic forms [TV-software, film and computer software ] were put all in the minimal level, either because man is not the maker of art (computers, FX film), or because human ethics and aesthetics are degraded (TV-software) by a negative-violent perception of mankind.

Indeed, TV and Hollywood films unlike deconstructivist art in cubism and surrealism, do not study the phenomena of devolution of mankind with ‘angst’, with a negative feeling as Orwell does in literature, but merely subvert the ethics of survival of man into ethics of extinction.

Indeed, the hero is he, who kills man. Dead is beautiful. So those films are  not an art which ‘shouts’ and complains about human extinction, as Kafka or Picasso do, but an ideology of simple images, that provokes and expects human extinction. Modern film and video games which create the violent mind of children, and Neo-Paleolithci men show not the point of view of man, who sees himself destroyed by the machine. But the point of view of the machine which wishes to destroy man and programs man to ‘do it himself’. Thus from the point of view of the truth of man – the only point of view of relative truths that man has the right to treat as absolute – violent Holywood=Holevil and violent video-games are the lowest of all expressions of artistic languages ever conceived.


The future mind of robots?

Probably in the future those films will feed the imagination of warrior computers as they feeds that of our children.

Such cynic abuse of art and visual languages, can be only paralleled in its rhetoric complexity to the rhetoric simplicity of fascist Mussolinian ‘warrior fantasies’, and parades, which latter were applied by a true warrior race, the German Nazis, to destroy the World. Thus we talk of neofascism, when considering those ideologies that will be imitated by sentient robot warriors as memorial images, obtained in internet data banks. Hollywood will be used to destroy mankind.

However in a graph of technical quality (hardware of art) those films would have thanks to their technology a maximum complexity. Which is the paradoxical reason that makes them dominant in box-office. They hypnotize the highly devolved present eye-man, who is not taught human survival [collective ethics], and the laws of evolution of the Universe. So they do not take seriously the evolution of the future software of computer minds… Modern man no longer has reference to judge what he sees. And so he accepts technological complexity, as the fundamental element of ‘quality’ in a film, ignoring its ethics. Complexity of TV and computer thought fascinates the simple minds of the modern childish men, maintained in a dramatic, individualistic perception of reality by ideologies of work and consume. In this manner Companies of Scientific Pricing and marketing, since earlier age, transform man into a perfect violent, childish, egoist, money-crazed animetal. Their mind is sacrificed to the gods of metal at earlier age. In farms too, animals are sacrificed when children. Orwell knew better.


The transformation from human art to metal-art.


If we define art as the creative evolution of the human eye>wor[l]d in external media, the present change in dominant mental species on Earth, means that art mutates and becomes transferred from human senses to metal senses. Modern computer art and TV-films are those last devolutionary stages, that substitute painting and literature.

In the next graph, a small selection of artistic styles as a regressive evolution from Internal-Human-chemical art to external-mathematical-technological art; as we move from human to instrumental perception. Since pure Homo art requires an emotional style that cannot truly be experienced in metal forms. As technology advances the form in art displaces away from internal chemical expressions in human media [from music to painting]; into complex metal sounds and media [from movies to violent video games]. So we move away from human eyes and chemical, expressionist art, into metal geometry and industrially produced, audiovisual and digital products, based often in the higher resolution, and movement=violence of digital eyes. The transition of art and human knowledge from social, sacred forms [laws, religions] to industrial forms of art [when digital science and money substituted verbal religion and law at the height of social power] to desconstructivist art, [when even the individual senses of man, his eyes and brains become obsolete to machines] foresees the extinction of Human art.  It has happened in all societies that entered the industrial Evolution

First, and for most of human history, art was essentially religious art, that tried to educate people in the social ideas of verbal religions, in the concepts of love and harmony within the ‘social organism’, of a culture. Art took the role of the informative nervous system of those organisms, transferring ethic messages that stressed the harmony between ‘individual cells’ of the society. There was therefore an ethic canon for verbal art, and an aesthetic canon, that tried to search for the perfect beauty of the human being, to raise the nobility of man, center of the earth’s Universe, to the nobility of God, creator of the Universe. In the microcosms of the earth man was as powerful as God could be in the macrocosms of the Universe. So the artist established such parallelism as natural to the condition of man. There were also secondary forms of art, that compromised with the power of ‘metal-masters’ [epic art, rhetoric art, warrior art], but still focused in human beings.

Yet when science substituted verbal thought as the guide to knowledge, art lost power, and without any relevant social role, the artist focused into the individual search for sensorial knowledge through the eye-wor[l]d of man [XVI to XIX century]. Religious art declined.

Finally in the XX century, the best art sings the swan song of human power as it becomes evident for artists [concerned with the evolution of the human eye-Wor[l]d] that now it is the metal-mind not the human mind which evolves in the Earth. Weapons [lineal metal] and money [cyclical metal], not human laws, and human rights, hold power in our societies.

While artists that compromise their ethics and aesthetics, for the sake of power and money, started evolution of technological-digital art, no longer in human minds.

Those cycles of evolution and devolution of human art are common to all civilizations. They have become a general pattern followed in all cultures as they cross phases of metal-evolution.

It affects all linguistic arts of man, and as such it transfers art into technology, human-eyes into metal-eyes, through audiovisual and computer media:


The cycles of extinction of sacred, social art first, based in the canon of social ethics, and in the last century, of human art, based in the human aesthetic canon of individual beauty, and expression of positive feelings, have happened in all human societies, as they enter in contact with the Industrial evolution, and go through its 3 phases, the age of bodies of metal [XIX C, centered in Europe], the age of minds of metal [XX century, with center in America], and the incoming third industrial evolution [the age of robotics, XXI century].

Artistic works have shown this lost of power of humanity to the machine. First artists lost his role as the social mind of civilizations, [since the end of renaissance, and the beginning of Reformation, that meant the end of social, sacred art, substituted by science and go[l]d religions]. Art becomes decoration. However artists still could show the beauty of an individual mind, and the pleasures of human senses, and individual art flourishes also in Go[l]d cultures giving birth in painting to the Dutch renaissance, and in verbal thought to the French Enlightenment.

However, as the ecosystem of machines grew, the skills of artists, were used by scientists and industrial companies to reproduce machines. So even the individual art based in human proportions and human senses, declined. We entered the XIX century of industrial design, and forms that adapted to the material properties of metal [macro size, linearity]. In architecture, only a few genius such as Gaudi, resisted the Bauhaus movement, towards lineal forms, and simplification of art, into industrial design, giving an organic feeling to his buildings.  Painters had to imagine new wor[l]ds, as the external public lost interest on their depiction of the real world, fascinated by photography. Social writers in a society controlled by weapons and money, were prosecuted. Literature looses its logic, philosophical power, since now words are considered inferior to numbers as a form of knowledge. Therefore for the first time in History of wor[l]ds fiction takes over non-fiction as the main focus of literature. As we see, in all aspects of art, society downplays the importance of the artist as the informative guide of society. Finally in the XX century with the evolution of minds of metal, and the multiplication of wars, in which the best, top predator machines [weapons] massacred millions of human beings, the artistic spirit, entered an age of pessimism and ‘angst’, that expressed itself in the -isms between wars.

After II World war, art works plummeted into a total devolution of form, and hardly noticed attempts to provoke the consciousness of society, that expresses the growing concern of artists by the parallel devolution of all kind of social or artistic interest in the public. Since today people no longer is guided by words and visual art, but by prices, numbers and scientific ideals. While most information is controlled by companies of mass-media, whose focus is the reproduction and evolution of machines of science. Hence they have taught people to accept as ethic goals in their lives, the reproduction of machines [work] and their evolution [consume and test of their quality]. The new ideology of mankind – the reproduction and evolution of machines – substitutes any goals of sensorial or social self-realization, that art provided in the past. Even the critique to such ideology, mildly tried by some modern artists [Warhol] has ended, as artists themselves became corrupted by money and fame, and dedicate their efforts to create the software of metal-minds, for the consume of millions of human beings.

To certify that irrelevance of art, the deconstruction of form in art reaches its height in the movements of Minimalism, in white canvas, and abstract expressions of pure energy in painting, that complete the final regression of human art, which comes back to its origins, as an old man becomes childish, close to his death.

A death announced by the most prophetic artists of the new industrial media [film], in works such as 2001, or terminator…

Since we are entering now in the age of robotics, when men find themselves confronted to powerful, new species, that abstract sciences, and companies, without any sensitivity for the human collective experience, manufacture, playing to be God, forgetting even what Darwin taught them: the universe is a fight between rival species, and machines are becoming the rivals of mankind…

In the graph we showed that final age of human art, which started in European art with the industrial evolution.

Indeed, once the Romantic age, full of human social hopes caused by the French R=evolution, and its social message of love, similar to that of earlier religious movements, were crashed by the national coalition of warriors and traders, masterminded by Britain, it was clear that the Industrial R=evolution had won over the Human R=evolution. So artists, abandoned romantic dreams and art entered, a realist, individualistic age. The age of the Machine was born, but the best artists ran away from it, inwards [Van Gogh, Baudelaire, Poe] or outwards to decadent paradises [Gaugin, Rimbaud, Byron]. Realism and escapism would take art in Europe through the XIX Century. In the XX C. the arrival of complex metal  communicators – radio, TV, computer networks – more efficient than the human eye<wor[l]d, and controlled by company-mothers, reproducers of machines, makes the distribution of any message dependent on those networks. Which means art cannot longer criticize science, and metal-minds, or else it will not be distributed by them.

So artists feel outsiders, within a society that denies them the right to express human ideals. Their themes become the lost paradise of human beauty, the inferno of the Industrial World, and the solitude of feelings, in a world in which men are encouraged to consume=test machines and their networks even for acts of social communication.

Kafka and Proust in Literature, German expressionists perceiving the Holocaust, the French decadentist school of painting and poetry, Picasso in his political period, express those feelings, opposed to the messianic optimism of scientists, economists and the military, that worship technology and the machine.

Who is right? If we judge them by their prophecies in the past, those pessimist artists, that foresaw the II WW, and the end of the European civilization, were far more prophetic than the optimist industrialists of the Nazi, or Colonial movements in Europe. They, and other masters of human thought, foresaw war and decadence, and destruction of Europe. It did happen.

Yet because quantity of thought overcomes quality of thought, and the networks of mass-communication belong to those who worship machines, the ideals of science, and industry, control the opinions of the human mass.

Indeed, the physical properties of metal-communicators, impose them, as carriers of bigger quantity of information regardless of their quality. Man merely prefer to see more information.


The Role Of Digital Images In The Human Baroque


Digital images are the linguistic rival of human art: The reason is that film has a degree of combined complexity superior to all previous linguistic arts, or evolutionary states of the human eye-wor[l]d per cyclical Time Unit even though in its different linguistic components, added one by one, human artistic complexity is clearly reduced. Thus we prefer to see a movie to a painting in the same time cycle of human existence, guided by the law of “∆ volume of perception.” Nobody looks at a painting three hours. We prefer TV to literature, for the same reason. In TV what we get is mostly rhetorical noise that allows us to sleep awake – a condition in which our eye of lesser complexity than our mind becomes stunt by noises of beautiful, meaningless nature.

So, unlike the human artist the common man, far more simple in his perception, and easy to manipulate, worships consume and finds the beauty of machine designs of higher value than human, artistic art.  He loves to consume them. He loves to work with machines. He is not aware of the trappings of dependence, and devolution of his own intelligence, that takes place, when he becomes a passive use of other metal minds that atrophy his intelligence. So men loose capacity to count, as he uses computers, to think in words, as he stops reading, and listens to TVs, and slowly enters into the tamed state predicted by writers like Orwell [animal farm], or Wells [the time machine], ‘prophets’ of the future…

Today such warnings in the extinctive, desconstructivist age of art still continue with books like this one. Yet the audience for true social artists, who want to resurrect the human spirit and complain about our extinction, is dwindling, as the mega-Companies of metal-minds praise the digital age of machines, and control art production, in the board of Museums, and schools of art, dedicated to computer design…

So we talk of the XX C. as the Human baroque or extinctive age of human art.

Where true artists move inward into works that purposely ignore the technology of modern life, and prefer to paint a bottle and a guitar [Picasso], or describe a feeling [European films],  as opposed to those artists praised by the industrial system, that jump into technology and feel themselves the genius of the new age [so many, not worth to mention].

To survive many artists have to sell themselves to the market, as mere craftsmen of digital products… However, digital art merely translates human art into Computer forms, as a learning process for future Robots and sentient computers….

The process seems unstoppable. It is perhaps the last age of History, where property has more rights than men, where evolution is of metal, where men worship machines and money, where art is technological, when the verbal mind and ethic mind of people becomes erased by messages of death and violence; and the only men free to express such things, are as in all other baroque ages, that preceded the extinction of a civilization, a few artists of human eye>wor[l]ds, who suffer extinction in a higher degree, because the evolution of the human eye-Wor[l]d is his goal in life. Yet the existentialist movement in literature, the pessimism of science fiction in film, the biological approach to history on essays like this one, still shout and will shout till the last human mind disappears, against the power of machines and the arrogance of scientists, that despised human senses.


5: Artistic ideologies imposed by metal-communicators and companies.


The extinction of Human Art.


Due to the industrial process of scientific metal evolution, that the press, the clock, company-mothers and paper money guided by the Jewish-Protestant Go(l)d culture, started in Holland, human art and Human senses, even our perception of time, its vital cycles, and the drives of human existence we have to fulfill through the use of time, were substituted by metal senses, clocks and cycles of work and consume for machines, .

Then as radio, TVs and now internets came, people stopped to listen to prophets, religious ethics, and changed their aesthetics for those of machines, promoting machines over human goods and Gods.

This not only causes wars and extinctions of carbolife species, since the top predator machines of maximum beauty are weapons. It also causes the extinction of Human cultures and their rituals of human senses, as we prefer to be hypnotized by TVs, and computers, read the press, than being with a wo=man or listen to a friend.

In this manner pure human Art dies. Since art is the biological evolution of Human Words and Eye-perception, and takes place naturally in the individual, not trough intermediate software machines.

Instead today we live in a world in which information is programmed according to the ideologies of animetals, through software machines.

What are those ideologies? Basically ideologies of consume and work in machines, myths that substitute the human will by the will of metal. Let us consider them in detail before we analyze their effect in human art.

We might call those ideologies, the myths of animetals, and company-mothers, which control our metal-communicators and program us, since the age of the press, in the ‘Jewish-Germanic animetal culture’ of work alcoholism, science, and machine progress.

Let us briefly consider those basic myths that structure the modern culture, extended from his original Jewish-Germanic place of birth (Holland->England->America) through metal communicators the entire human cultures.

Myths Of Human Freedom: Our goods and credit oblige us to work. 


The myth of the “free market” says that ‘humanity becomes free and progresses when it works, which basically means, when it reproduces machines. Yet it is obvious that freedom relates to having free time to enjoy all human senses, with human education and the availability of human goods. Work is in that sense a damnation, a penalty, not a freedom. Top predators do not work, but achieve very easily the goods they need, since they are abundant in their ecosystem, built to produce those goods. Yet in our ecosystem it turns out that human goods are scarce and expensive [a fact that is not necessary as we shall see latter, yet it is considered by ‘the myth of scarcity’, the natural order of things.] Also it turns out human beings have no credit, unlike companies, no right to issue free money as companies do in stock-markets, so they have to work for those companies that pay them salaries.

The combined effect of the scarcity of human goods, and credit for human beings, and the unlimited credit for companies of machines, means that since our goods we need are scarce, and we have no money to pay them, we have to work unending hours to get money to pay for those goods. Yet we do not work making human goods, goods we need, but instead we work for companies, making machines, since those are the jobs the economy offer us. In this manner even though the system theoretically permits people to do any job, and enjoy free time, we have neither free time, not we can do anything except work reproducing and evolving machines.


As a result what economics call freedom of work is freedom of companies to reproduce all machines, and buy with free credit human life, human time, human workers when  they wish.

For that reason, we say that machines and companies have more rights to reproduce and evolve today than all other species on Earth, including mankind.


A free market is a different concept than a free society. It is an organism that gives freedom to machines and company-mothers, not to humankind.

It hides the control of societies with money; and the existence of a reproductive, free ecosystem of machines and company-mothers that cannot be controlled by men.

Instead companies control us as workers and consumers, and control our governments through lobbies. Most of our life is spent in unending hours of work and consumption in the service of the goals of companies. In order to hide this economists don’t speak about how money gives orders to men. They say: in a bio-economy [capitalist democracy ruled by capital=money orders] you are free… Yet you are only free to consume and work, to survive.


Further on they do not tell you what really to consume and work means…

Let us see exactly why company-mothers want us to consume and work for them.


Consumers and workers test and reproduce machines.


In essence we can express the events that take place in a company as an equation of transference of information and energy between man and machine. This takes place through two symbiotic acts: work and consumption:


Work: Man >Price [wages] > Product.


Where > means a transfer of energy and information from man to machine. The worker communicates form and energy to the product, to which he transfers his existential form. Likewise, through acts of consumption, man selects the best machines for his future reproduction:


Consumption: Product -> Price -> Consumer -> Test of quality -> Best product

\—–> profits -> new re=production —/


Through pricing companies change and adapt our world to machines. Prices and salaries encourage the consumption-testing of products by men, the work-reproduction of machines creates the Metal Earth. Where does this lead? Toward the evolution of stocks=species reproduced by Mother-Companies. To a life spent in testing=consuming or working=producing machines. This is the purpose of the present design of the world market. It programs us to become consumers and workers. It also limits our non-productive activities, mainly social activities. Man has become a slave, working for companies that use 90% of our existence in cycles of consuming and testing metal forms.

Believers in market-controlled societies “ignore” the time men spend working, controlled by pricing. The reproduction of machines multiplies the number of tasks related to caring for machines that man is obliged to perform. The market only tolerates humans that act as “enzymen” of pricing. The most evolved zones of the Metal Earth, where more species of metal-science exist, are also where humans spend less free time in social and life communication.


Finally there is a third level of confusion between consume of human goods and metal-goods: freedom of human sensorial perception, and freedom of human informative knowledge is confused with freedom of metal sensorial perception and metal informative knowledge. Men are denied freedom to be humans, and are given freedom to be enzymes, to be consumers and workers.

Freedom to know prices and objects as consumer, not to know verbal truths; and freedom to choose metal-jobs in which occupy your time, instead of activities of sensorial perception in which to occupy your mind and body, are not human freedom but metal slavery.

We talk of freedom of greed, of ‘freed’, where humans have the point of view of metal, and work and consume for metal freedom.

All top predators have a point of view, only slaves are ‘freed’. Yet because metal freedoms are today the only freedoms of men, while chemical perception, sexual and social intercourse are limited, most men do not even realize they are slaves of metal.

They do not know their perceptive organs; human verbal truths are ignored. So without true perception of reality, they become slaves of the only choices available to them: consume and work.

Man as a work alcoholic appears during the Industrial r=evolution.

For companies, the evolution and reproduction of machines is their only goal. Man becomes an expendable species, measured in numbers-wages, whose value is assigned according to his capacity to test=consume and work=create machines. Good workers are rewarded with high wages, and given the “privilege” of testing machines. Bad enzymen are punished. They suffer low wages and struggle to survive.

The essence of freedom, your time is bought first by companies, through slave, latter, with the creation of money+clock=wages. Before this era, the main activities of man were those described on the right side of the graph: reproduction, social evolution, and gathering energy and information for our human bodies and minds. Today those natural, biological drives of man are all repressed.

Survival and sensorial freedom is maximized by consume of natural human energy and information [verbal thought, carbolife goods].

Both are repressed by metal reproduction and digital languages, that substitute human mental, verbal freedom, and forbid sensorial body perception such as sex and natural goods.

Consumption of machines is instead promoted as symbiotic to metal reproduction; and human goods and human jobs based in human sensorial perceptions are not cre[dit]ated.

Real freedom would have an opposite behavior cre[dit]ating human goods, even if that implies to limit metal goods and metal jobs, and metal senses. What marketing of metal calls freedom today is not real freedom since it does not promote human goods for all the senses of man, neither recognizes the higher rights of survival of our species over all other forms of the Earth’s domain. That ‘no negotiable’ aim of human species is substituted today by an anti-truth of survival called metal-consumption=machine evolution=human progress.


Consumption rhetoric convince us that to be slaves of the metal farm: “workers and consumers, is the essence of human freedom”. Then companies of metal deliver to the human masses that they order, both good products that improve human life, and bad products, weapons that act as devolutors of man, and control the limits of our ‘permitted’ behavior. The stick and carrot of all linguistic behavioral systems has been applied to man by companies of science since Mr. Galilee gave us both the first insight in the solar system, and  ballistics that improved the techniques of human slaughter by weapons.

Yet if you do not learn the nature of human will and freedom,  you cannot reach freedom.

This is the American case, the nation most ordered by economical products of all the Human Universe, where the myth of human freedom is more intense.

Simply, Americans ignore the potential of human sensorial perception and social evolution, and what they do not perceive, they do not include among human freedoms.

If you would put a child in a room for his entire life, he too will think the Universe is his room, and there he is absolute free. He would believe to be more free than those living outside, because in his limited room-Universe he indeed is absolutely free, and those living in the exterior have to fight against the wider Universe. So the American consumer&worker believes that such is the human Universe, and ignores the true choices of human perceptive freedom.

Only there are true free Americans, outside their country, outside the impressive system of ideological de-formation of America through the scientific method, Go[l]d religions, warrior nationalism, and metal-mind erasing of their brains. Inside they are cornered and muted by the ‘ordered’, creditated (credit=creation in a money-controlled society) authorized culture of companies.


The Control Of Human Times By Company Mothers.


The slavery imposed on humans today is simple; most of our time belongs to company-mothers as workers or consumers. Mass-media rhetoric converts those duties into “freedom,” and programs men to be addicted to work. The only real measure of freedom is free time. A species is only free when it has no duty beyond its own existence.

Top predators are like lions on the savanna, free, lazy species, dedicated to eat-feed, look around [inform themselves] and reproduce.

On that view the Genesian paradise was free, not our life in the ecosystem of machines. This is naturally known to man, who loves to go on holidays to such paradises. An entire system of ideological repression is in place to hide this.

When you ‘work’ for others, you are not free. You are a slave of the reproduction and evolution of the other species you work for. Free societies are only those in which the individual has a lot of free time and choice in how to spend it. Time to learn, reproduce and consume human goods; time to socialize with others. The most developed agricultural and religious societies fit this description. They were societies with a natural balance with their environment. Some examples are the Pacific Islanders, the Native American Indians, the Mayans, and the Christian and Buddhist cultures. Our current society does not meet this criteria. Genesis described why men were only free in Paradise. Afterward, they were slaves of work. Marketing of “freedom of greed” confuses our freedom with our ‘duties’ of creation=work and testing= consumption of products.


The rule of stockrats.


In a second level the myths of markets hide the total rights and freedom of the elite who owns companies, and have absolute rights to credit, without legal responsibility, as old aristocrats had. As we said stockrats have the same privileges as old aristocrats had – control of the tools of metal-power, now credit in money, in the age of aristocrats, free rights to wear weapons. And also have privileges in the language of verbal power: they have no legal responsibility, protected by the Law of Anonymous societies, and its legal exemptions, as aristocrats were protected by special courts and laws. Companies and their elite, stock-holders, are indeed the only free species in our society.  The result is a dictatorship of companies and aristocrats,

based in the exploitation of a mass of citizens, including governments, without right to credit [laws of deficit zero for governments, in the case of citizens they do not have much credit and on top of that they are obliged to pay taxes], and of course without legal exemptions.

So the myth of chaos, hides the total freedom of stockrats, owners of companies, based in the lack of credit and legal rights of a population which has far less freedom, than they have.

The myth of freedom hides in fact the lack of freedom of most men, without rights to cre[dit]ate money or invent laws. The 1-10% of free people that exploits the lack of freedom of the 90% of human energy, then isolates the non-free people in ghettoes without outlets of communication, and affirms that their privileges are the freedom of society. The myth is as old as the elites that invent it: The Jewish-Calvinist culture of Gold believers.

In that sense it is evident that a society ruled by company-mothers and stockrats, will have as a secondary goal to the biological nature of company-mothers (the reproduction and evolution of machines) the expansion of the Jewish-Calvinist culture, is values of repression of the human will, is endemic racism, its irrational love for Go(l)d and money, and his passion for digital languages to explain reality given the degree of deformation of their culture, treated along the pages of this book.

Those political and economical facts are necessary to understand the culture of the World today, which has been modeled by the financial power of that culture throughout centuries, defeating in this manner alternative human cultures, of higher value, such as the Southern European culture, or the Indian culture. First in the XIX century from England, then in the XX century from American, the Jewish-Calvinist culture, based in the ideals of the Old testament, using the poorly evolved English language has expanded worldwide. Today we can say we are all Jewish-Calvinist, we all worship money, numbers, digital science, individual selfishness, work and consume.  We all scorn with certain shame, as if we were loosing our time, sexuality, love, human pleasures… We all try to be cool – that is to lack feelings, and emotions. We despise human senses and prefer to see a movie than a landscape. We are all becoming dramatic, violent, indifferent to other humans. The long project started in Jericho 10.000 years ago, the Jericho wish, the Je-wish culture: a world ruled by the golden calf, a primitive world in which man is a doG to all other men, and worships the false God of metal, has been achieved. It means the end of man as a free being. We are now all animetals, we are now all slaves of the machine, as workers and consumers for company-mothers.


The Myth Of Consumption: Atrophy of Human Organs.


Your duty as a consumer is simple: you have to test different products and choose the one that best substitutes a human organic function. Then you will tell this to the company, by buying and consuming its products. In this manner, Metal-consumption becomes the trap that causes the degeneration of the human species. Why? Since only the consumption of goods that support social needs are beneficial to man. Food, housing, education, arts, love, family time, textiles, and other basic carbolife goods improve the lives of men and evolve our real senses. It is what we call human consumption as opposed to machine consumption, which substitute them for machine-species [cars, chip-minds, television-eyes, etc.]. The difference is clear. Machine-consumption atrophies our informative and energetic capacity. Human goods increase the use of our sensorial organs.

To have more channels to watch on television is not human consumption. It is a form of slavery to the virtual reality of a Metal mind that substitute our verbal minds with the subtle pro-company messages televisions deliver. To have more roads and cars is not human consumption. It too is a form of slavery to cars. It obliges men to spend hours, testing and acting as ‘brains’ of the car [metal-body] and it atrophies our legs. The mirage by which man becomes dependent on those metal-species is their capacity to substitute a human function or organ. The outcome of that mirage is the atrophy and extinction of those organs.

In that sense the myth of consume has often a negative side effect in man, that latter we will explain in detail: certain machines kill us when we consume them [weapons], poison our ecosystem [polluting goods], or atrophy our minds [Televisions, computerized machines]. Plainly certain goods are lethal to us, and should not be reproduced neither owned freely, as we do not leave around children poisons for them to die…


Economical myths control people’s rights.


The fundamental myth, or half-lie, that controls mankind has been considered often in this book: the confusion of the natural drives of man [desire of human verbal information, human energy and human reproduction] with the natural drives of machines [mathematical information, consume of machines, and work]. Once men think that to be free, is to exercise the freedom and rights of machines, it is easy to convince them to become free, by making them slaves of machines.

The more slavish their behavior become, the more free they think they are. They live through their machines, no longer through their bodies and minds. Then the transformation of man into animetal is completed. He no longer behaves as a human being, but as an attachment to the machines he thinks he controls.

At a certain point in their brain-washing education, such men will have forgotten their own repressed rights. They will consider sex, not a natural pleasure but a sin; food not the prize of a top predator, but something to swallow fast in tasteless restaurants; words, not the language of human truths, but a lesser language to the numbers of machines.

So they will despise all things humans, sex, food, words, and despise all humans who still feel as such – ecological cultures, women, children, the poor, the good people who think in ethic terms. The British animetal will despise the Irish and the Indian; the Jewish animetal will despise the Muslim; the American animetal will despise the Black and the Latino; the Japanese Animetal will despise the Filipino; the Protestant Animetal will hate the Catholic; the Capitalist animetal will hate the Communist; the scientific Animetal will hate the priest; the trader animetal will destroy Nature; the warrior Animetal will kill mankind…

Such transformation of the human mind into the animetal mind is done, as we saw before, by many means: through gold religions, educational systems, science, market policies, laws, war, repression, mass-media, dramatic imprinting, promotion of hate and violence, racism, monetary corruption, scientific theories, and any other mean that influences behavior.

So it is a very old process, which finally culminates in a series of modern myths, that are embedded in the idea of a free market: a free ecosystem of machines [the free market] is supposed to provide freedom to human beings, instead of providing freedom to machines.


Extinction of human will by metal freed.


The conversion of free men in consumers and workers, in animetals is based in a general denial of the nature of man which is not a free, chaotic species, but an organism with a free ‘will’ to desire goods that are natural to him – verbal information, natural energy, and reproductive drives such as love, reproduction, and family values.

Yet Economists deny the will of man, and affirm that will is merely the desire to live in a chaotic, free state. They deny the fact that in the Universe, extinction is a process caused by disorder, chaos, by an excess of freedom, that forgets the will of survival, and the need for natural energy for your body, and natural information for your mind..

So the myth of chaotic freedom is used by companies to encourage among people the consume of lethal goods, that kill us. They make us confuse the extinction and disorder of humanity by those lethal goods such as weapons or metal-minds that erase our brains and make us violent, with the ‘abstract’ concept of total freedom. As if man could jump over his biological nature and the preying laws of the Universe!


The degradation of the human will, and human art.

If we have to characterize the Dutch-British culture that came out from the dictatorship of companies in that first age during the XVII and XVIII centuries, and refined during the XIX and XX centuries, now rule supreme our culture, some concepts are fundamental:


Digital sciences based in dogmas and postulates without prove in favor of mathematics and machines, are supreme truths, and among them, digital economics in which the goodness of machines and money is not argued, becomes the most cherished ones. All its authors, Say, Ricardo, Smith, Malthus, will be Calvinist, Jewish or Anglican priests with the Go(l)d dogma.

The change from the previous culture is radical. No longer words, the language of man is the language of God. “god became the word and inhabited among us’ becomes now the motto of the dollar bill: “In go(l)d we trust”.


Man can be bought for a price, so he is no longer supreme. Further on since money in reality, against the dogma of religious goodness, is eviL, antilive, and it provokes negative actions (see “bioeconomics”: the most expensive goods are weapons, hence to make money you have to murder, etc.), men guided by money do wrong actions. Yet since money cannot be blamed under dogma, we blame man, which becomes  garbage.

The change is radical, from  man as a sacred form, proper of the Renaissance we have moved as man as an evil pawn. The trend will grow till the present American baroque, in which the main characters of films are all monsters of behavior.


– In consequence, we can be evil with man. Systemic abuse of humans in literature seems OK. Violent literature, degrading literature appears, and keeps growing till “Dallas” and TV consecrates eviL – violence and t money – as the goals of humans, and the solutions to al problems.


– Things that are bought with money, as the only valuator of society are good things. So weapons become good, and wars multiply. Sacred art, and complex art, difficult to understand, literature, with minimal price, nature without price, become useless. Wealth is the only value of society. Again we find the opposite value to that of renaissance, where man was the center of the Universe, and so to develop you human will, to enjoy pleasure, sex, cultivate your mental information, your senses, and artistic skills, was the ideal of the individual.


– In order to work more, and be easily controlled with clock-wages, to reproduce and evolve machines (the will of company-mothers), the human will (sex, love, human goods) is sin, or a waste of time. This radical changes, establishes first in Holland and New England a puritan society based in work, and nothing else. Then in England during the XIX century, the Victorian age of total repression of the body. Today this repression of the human will is obvious in civilizations such as the American civilization that still becomes scandalized by sex, spends little time and money in food (trash, fast food), and ignores the arts of human perception, good literature, and verbal information.


– Information has to be digital to be relevant. So Literature is fiction, genres are always preferred to reality, social novel, symbolic novel, religion. Today the trend reaches its peak. All what matters is fiction. Our role models are fictional actors. Actors become politicians. Children want to live an eternal fantasy. The American dream which has nothing to do with real America epitomizes this lost of verbal power. On the other hand mathematics are supreme in America.


– Since the supreme will of company-mothers is to reproduce machines, machines become with money the only God of society. As machines multiply people become dependent of machines, and today technology is supreme. It is the god of America.


– So we exist to consume and reproduce machines, not to reproduce humans and evolve human art, and human perception. Art is dead. Art is secondary, is superfluous an artists are evil people. This is again the concept that dominates the entire XIX century: the artists is an outcast. Why this trend has been reversed for certain arts today? precisely because now artists make money as they create the software of the metal-mind. Hence the change of social status of Hollywood actors, an musicians – which has nothing to do with their degraded art quality, but with the fact that they make money and serve the machine.


So as we see, the characters of art, and culture will be since Holland conquered England and England conquered the world, established by the needs of company-mothers regarding his ab=use of human beings.

They are evident in XVIII century ‘authorized’ English literature. They will become the rule in the XIX century British cynical culture.


Victorian repression of the body enhances work.

An example of earlier control of society by ideologies of machines can be found in Victorian England and his role models of the perfect man – that which adapts himself to the exigencies of the company-mother. Indeed, the role model of this age, is a puritan woman, Mss. Victoria, whose ideals – the British cultural model of repression of human feelings –  expands worldwide.

On that respect to notice again, that man adapts his repression to the needs of the machines it builds:

In the XIX C. man is making the body of machines, so he represses in his elites, all body functions to make them need those machines they have to consume. While the working classes that reproduce body to body those machines, are annihilated in mental functions, to make them animals, strong enough to live side by side with the railroad.

In the XX century as man makes the metal mind, his mind becomes obsolete, and man would ‘freed’ his body functions [60s r=evolution, sex, drugs and Rock&Roll]. Instead now he repress all mind functions, programmed by the Metal-mind, by TV-Internet eraser brains.

Now our elites are the opposite of the XIX Century elite man: brainless bodies instead of bodiless brains. While our workers are the opposite of XIX century workers: brainy, pale ‘internerds’, instead of strong iron workers.

‘Don’t worry be happy’; ‘It’s fun’; ‘Live the day’, ‘be Light’; are the new slogans of Companies to foster Metal mind consume by our brainless bodies – mind slaves of metal minds.

So today books that multiplied in the XIX C. become past forms; and control of information moves from the metal press to the metal TV-eyes.

Human mind devolution grows geometrically as an opposite function of digital evolution, which brings movement-violence-dramatism to human thought.

This new irresponsibility of man, who copies TV-behavioral traits, makes occurrences such as the Social revolutions of the 20s, no longer possible, even if the truth is found. Since now nobody reads and mass media companies do not transmit social verbal truths.

And so the truth cannot be communicated to humans. The rat bites its tail.

In the XIX C. isolation in rituals of thought and beauty dominate the culture of companies [no longer goodness, the survival feeling of the word matters]. Only the eye, the light sense of mathematical harmony matters in the age of digital languages. Such eye-obsession enhances the indifference of elites towards the ‘brutish, bodily poor’; compared to animals who cannot show the cleanness that informs the life of the wealthy Victorians.

Such clean shallowness extends in England to all forms of deep knowledge, from philosophy and ethics, to religion and literature, from real science [reduced to mathematical science], to the limits imposed to sensorial experience in all other ‘human perceptual languages’.

Women, informative subspecies similar to money, reach higher power, in this age, as they control the male through sexual repression. Love and life are in this manner extinct as primitive, animal customs. The British do not kiss their children, do not love, do not show emotions in public.

The repression of real human information and senses extends to literature.

In England know-how, scientific books, romantic escapes, dramatic theater and genre novel prime over realism, and sociological novels, or verbal-logic essays, or real philosophy, or real economics. Yet drama and escapism by its simple, set limits and spatial nature cannot enlighten the human temporal reality. Yet precisely because of that [as today in TV where documentaries are not cre(dit)ated] Literary ‘genres’ are promoted by Publishing companies in Britain as systems of subtle repression of ‘real books’ by ‘fun’ books: comedy-theater, historical epics, detective stories, re-runs of Shakespeare, spicy books… They complete the metal press path towards useless information.


Popular culture.


It is also the birth of Popular culture, the birth of sports that deviate the attention of the masses.


In fact soccer was born at the end of the cycle of Steam machines and railroads, when the overproduction of railroads freed workers who had some time to think and organize Trade Unions. That was a problem to solve by the British elite, and sports came in handy to distract the mass of miners and textile workers. Let us remember that…

As every little town of England had his railroad to nowhere, most of them idle today, but needed for ari-stockrats to invent money in speculative stock-markets for free, it came the inevitable crash of railroad shares. The industry collapsed, and so they did the 3 related industries of iron, coal mines and locomotives. It was the decade of the 1850s, and workers entered in huge numbers the inferno of poverty and unemployment. Then they started to organize in Trade Unions, and asked for certain basic rights to the City, the government of the British Empire, and the rest of the World (what Wall Street is today).

Sundays were free and work hours were reduced from a 7 days week, 18 hours a day, not because of ‘sympathy’ of Company-mothers to their ‘Products=workers’, but to cut costs and wage-expenses.

Suddenly people had a free day to think, and many were not going to the Anglican churches of Go(l)d where priests of the kin of Malthus, would only insult them for trying to forget their misery drinking and making love to their women… Instead they were organizing… What to do? Alas! Soccer was invented. Workers were given in some case even a free lunch if they attended the matches. Soon the first English Soccer clubs were organized in the Industrial cities of Liverpool, Leeds and Manchester, which still are the 3 best teams of England, in this year 2001…

Today owned of course by moguls of Mass-media, such as Rupert Murdoch master of violent images (TV-Fox), pornographic newspapers (the famous Sun 3rd page), and… sport channels on satellites…

Workers did actually bite the hook and went in droves to see their soccer teams, and shouted their anger to the ‘fictional armies on the field’.

Mind the reader that soccer beyond its fictional reality is a beautiful game to watch. It has a magic number of players, representation of the basic scales of the Universe. 10 human players acting as lines of energy, of a perfect cycle of information, the ball. And one goal, short of a soft military target where to shoot. Thus visually we are in a representation of the Universal game, of herds of teens, socially moving towards a clear enemy goal – to shoot and trespass the enemy guarded home becomes a representation of the Universal struggle, and gives you a false sense of being together, evolving socially with your team and comrades…

Of course is all fiction, but that is what matters. To create enough fiction so reality is left in the hands of company-mothers. Today is the same game at work…

So brutalized coal and iron workers enjoyed observing that parable of Darwinian war and the Social Universe… And Trade Unions saw their people fleeing to the soccer fields…

Today the system has found infinite variations of the communicative game of soccer [men as lineal forms, a cyclical ball shared between the lineal forms, and a limit of behavior set by rules and fields.]

And it has become symbiotic to metal mind evolution, and promoted worldwide.

In the most simple, erased cultural tissues founded by Companies such as America, Australia, or South-Africa, sports lavishly promoted by Companies and governments, maintain the mass busy, as Gymnasiums maintained Spartans, Romans, and Germans ready for war slaughters. Today such ‘harmless’ activities are parallel and symbiotic to TV-software and pop music. All of them keep the masses in hypnotic states of mental passivity and social inefficiency. Instead of organizing meetings, the mass watches sports during enough hours to avoid any meaningful social activities of mental growth. Because in the Age of the Me[n]tal Mind, ‘we are only free to be=come idiots…’ as the song goes.


Company-mothers Culture repress Social literature.

Sacred, social art is the reflection of the clonic form of a perfect man; which can be created only when you know the canons of the  human ethic and aesthetic form. Unfortunately with the arrival of gunpowder and the metal press communicator, the sentient Universe and its truths spelt by Leonardo and other masters of Italian neo-Platonism, and known to Taoist-Buddhist thought for millennia, were forgotten. Social Europe was demonized by the press, or erased by waves of metal warriors, simple and devolved in their human will. Not Christs or Quixotes, but Wallensteins and Hitlers have made the World as it is today. The North European cultures with minimal social, linguistic and temporal evolution, simplified the complex laws of social survival of the Universe, and made of metal evolution and science a cult of thought. The search of the sentient Universe, and the search for higher planes of human social existence were forbidden or despised. So a whole range of sensible forms of art died away. Then company-mothers imposed limits to social art and canon art, which soon withered in those metal nations. Those limits left Jewish-Protestant cultures with a very limited range of possible arts to be had – dramatism, individualism, and escapism.

Yet the highest art is social verbal thought. Social, Verbal thought is the soul of man, as a cell of history. It is the pure art. The nature of human existence, and his evolution reaches his higher peak on the forms of prophets of poetic, sacred thought, which inform man on the nature of Ethics and social evolution.

To prevent such art from creating social opinion, societies ruled by company-mothers have an absolute commandment of censorship: to forbid all forms of social thought, not only political or religious or scientific social thought, but also artistic, canonical, social thought.

So non-Darwinian biology, non racist history and religious, non individualistic novel and art is limited. There is no credit for it.

The famous anecdote of the mural which Mr. Rockefeller asked Mr. Rivera to paint in the Rockefeller center, and latter destroyed when he made a coral of social prophets on it, epitomizes that trend. There is no credit for such art, in book publishers, museums, institutions and companies. So in the society of money where credit means creation, where money creates reality such art becomes a minority work.

The higher planes of social existence that ‘sacred art’ describes can limit the ‘individualism’ of animetals; which is needed to promote tasks of consume and work of machines, outside the realm of human senses.

America is the paradigm of such societies which repress the freedom of the mind in a massive way. America even forbade Catholics as emigrants, and selected for centuries only “Protestant believers’ in gold religions. Catholicism, socialism, Creationism, social evolutionary theories are not welcomed. America doesn’t pay its bills to the UNO and his cultural organization… Hollywood ignores those themes. The first thing you are told in Hollywood when you confront an agent is: – Violent scripts pay twice, what a good comedy script pays. Comedy pays twice what a good drama. You should try first violence if you have any good idea.

– And social films, documentaries?

– You are in the wrong town. We don’t make those films here.

Yet because human art has always a social or canonical inspiration, it follows [and reality proves] that Company-mothers societies cannot produce ‘great human art’. In such societies only a very few artists, rebels of the company-mother culture, working in solitude, create art about humans confronting the system – names such as Welles, Hopper, Fitzgerald, Steinbeck or Fuller, have laughed in America at the myths of self-made men and the lonely hero, which becomes a victim of non-self made castes of Stockrats and Company-mothers systems. They were sooner or latter ostracized by the system. In England during the XIX century, the lack of such authors is even more striking. Mr. Butler who discovered the evolution of machines ended in New Zealand. Marx went there to work and could not pay his food…

And yet, proving the greatness of the human spirit, in such strongly individualistic societies, repressive of all forms of social thought, by rejection of the system, some of the best artists are born.

Such is the case of the great Christian converted Jewish verbal artists quoted in all our graphs, such as Proust, John, Marx and the converted Spanish Mystiques. The absence of such Human masters in the XIX V. English culture only shows the limit of the language, compared to the French, Greek, German or Spanish spoken by those Jewish Christians…

We should add the massive XIX C. Victorian political, economical and social censorship established by English Nationalism, the isolationism of that culture which still continues, and the capacity it had to expel rebels such as Mr. Butler to the ‘antipodes’.

The syntactic simplicity that makes of English verbal and visual thought, now world wide thought, an I=centered language with little re-flexive capacity, except very few exceptions caused mainly by alien influences [Shakespeare, influenced by Italian theater, Orwell by European socialism, and so on], and the localism of that nation was transplanted to XX century America. Which explains a lot about the null degree of social bonding and mental sophistication of American art, an I-Literature, an I-art, only thinking in I=eye terms. A trend increased by the evolution of spatial metal-communicators, image-thought and body cultures


Yet by the paradox of History that devolves human minds when more developed is the economical system, and vice versa, that lesser degree of linguistic evolution among Americans, has made America the world dominant economical nation.

Since men without social evolution have used weapons and money to abuse each other evolving both in a degree unparalleled in history.

The repression of the Goldiron culture of all forms of complex, social, verbal thought is too evident in the dramatic emphasis of Anglo-Saxon, now worldwide culture,  and its cultural repression of the old ideals of European Verbal warrior thought, that considered man the top predator of the planet, able to kill species lethal to him, from enemy cultures of mankind, to lethal machines. Today however property is sacred, even if property is lethal to our species… The highest verbal artists belonging to warrior cultures who used the language not to program man into war, but to explore the reality around them, are without doubt the best literary forms of western thought, born in Germany, France, Russia and Iberia, all culture today repressed by the Goldiron culture, that fears the possible apparition of a human leader to confront the dictatorship of company-mothers.

Indeed, only now we can finally understand the paradox of the Goldiron culture where people believe in God, believe to be free, believe to be happy, believe to be in loved. And yet they constantly laugh=make comedy of God=the Wor[l]d of man, are slaves of Gold, of Company-mothers of pricing, and fear and hardly experience the pleasures of the body and the mind, as Homo Bacteria which ignore social evolution, the dissolution of selfish individualism through love in the mass experience of a community, neither they have tasted the sensual true happiness of man through all his body senses. Today that repression arrives even to the minimal levels of human bondage, the level of family, making of love a transvestite contract of property, of detached sex without mind communication, of consume, all of which makes the animetal happy, but not free to experience, the uncorrupted purity of love to other men, and love to the sentient Universe. Property-love kills what a true free man of the Word=God=Love feels. The modern animetal lives for all the wrong causes.


Without social, survival ideas man will be a victim of living machines

As metal communicators overwhelm man with his power of informative replication, American art becomes today in its more simple forms [Television], the ‘World art’. So American art, and Television in turn is extinguishing all other world cultures.

Today animetal repression of complex, social, verbal thought is too evident in the dramatic emphasis of TVs, and its indifference to religion and Humanities. The study of art, of European Verbal social thought, and Taoist-Buddhist art of human senses is over. Destruction by money and weapons of Human truths of ethic nature; and repression by science of human senses, substituted by digital eyes, and computer, has indeed ended with verbal masters able to show the social, evolutionary paths to man. Social gods of human bondage are gone.

The highest verbal minds were born in prophetic ages, in warrior cultures who used the language to explore human bondage. Those verbal masters were born  in Semite cultures, aristocratic Greece, Germany, France, Russia and Iberia during their baroque ages.

Yet today metal communicators have extinguished human warrior verbal thought,  the highest minds of mankind.

It is surprising the perfect timing of that extinction, that leaves man without will to resist the XXI century age of epic robots, of machines able to kill man…

There is a certain intelligence, a biological sense, to the process by which first bodies of metal were evolved, massacring millions of human bodies. Now metal-minds have been evolved massacring the human will to survive, and our minds.

So when Robots come, it will be very easy for them to eliminate us. I doubt the Germans or Spanish conquistadors so serious about life and survival, would have allowed the present radiation of robotics to take place.

Instead, we are naive, and optimist, childish and positive about technology. We become techno-utopians. Survival instincts are substituted by childish movies, positive ides about robots, comedy and satyr that deactivates behavior.


The authorized genres, the repressed will.


Only those simple authorized genres and ideas are permitted. In societies ruled by Company-mothers, complexity of images and verbal rhetoric, based in the Galilean paradox (man as superior being that has nothing to fear) create a lower level of art, that cheats mankind about the laws of the Universe, and our role in that universe. While all theories that repress the human will are highlighted:

From Freudian fantasies on the evil of sex, to re-runnings of XVI C. Shakespearean dramatic theater, the authorized art is always simple, non-social anti-human will. Such works are still promoted today by digital films, as master pieces of human thought. When their societies were long ago extinct, and hence those works of art are harmless to the present world.

When the entire species depends of his legal= verbal control of the great Earth ecosystem, small themes, individual egos, become the characters of modern art.  In societies ruled by Company-mothers the human mind is forbidden to go beyond the small animetal territory of property, and individual happiness. If the genius does so he is not distributed.

The Earth ecosystem has to be managed properly or else we will all become extinct. Despite that urgency of non-fiction literature, of social nature, of bio-economical texts, of documentaries, in Company-mothers societies the human mind is encouraged to stay in the small animetal territory of selfish happiness.

So machines are reproduced and extinguish the human ecosystem without interference. That is the bottom line which explains the culture of the West since the Industrial evolution started.

Capitalism makes man to live in such individualistic chaos. Rhetoric art talks in positive terms of strongly individualistic, selfish characters. Only bacteria men exist. Individual property becomes Go[l]d and digital science accelerates extinction, blurring verbal understanding of reality with numbers and images and the concept that progress=machine evolution. Money and consumerism completes the game: the Homo Bacteria needs metal forms to survive as an individual. So a literature of social survival cannot exist in our societies.


The inferiority of the Goldiron culture in art.

While this understanding is wide in social nations such as China, or France, only the great Artists of such repressive societies understand this. Such is the case of the great Jewish verbal prophets and his disciples of social religions, from Jesus to Marx.

Yet the mass as the process continues and those societies approach to extinction become even simpler. Television has constantly degraded the verbal capacity of man, as it can be observed in the devolution of the verbal language in Jewish, English and American literatures.

The Goldiron culture has max. Eye-mathematical development and minimal verbal development [simpler Verbal languages]. This makes the Goldiron culture very limited in verbal thought. The gap between the goldiron culture and the social cultures of China and Southern Europe, with maximum verbal and syntactic evolution is enormous in Wor[l]d values and human thought.

The lesser linguistic evolution of the English Wor[l]d makes XIX C. English writers, very limited by a radical ignorance of feelings, and survival functions in verbal thought, which they cover only with technical virtuosity. The distance between Bronte and Flaubert, Dickens and Tolstoi is overwhelming.

The same concept applies in the XXI to Jewish-American art compared to Social European artists, in literature and film.


Strategies to camouflage bad Goldiron art: technical virtuosity.


Let us consider some techniques that camouflage that bad quality in goldiron art, that passes as a master art, for those who lack a clear understanding of the ethics and aesthetics of man, the only systems to measure the quality of art:


– Technical virtuosity and the use of metal-minds does not hide the difference between Spielberg or Coppola. Complexity of thought is another form of noise classic in Jewish literature. It however does not hide the ultimate ideologies of that culture: repression of the human will, specially its higher form: sexual reproduction. Such repression often becomes camouflaged with pseudo-scientificism (Freud, psychologists, Aids scare, feminism). In film fiction it has created an entire code that permits to show murder but not the body of a woman on screen. The case of Freud is typical. He pretends to extrapolate the repressive sickness of a few patients, to the entire human race, and consider all of us, sexual sick minds. Nonsense. The animetals believe all men have to repress their will, all men are evil, because they are eviL=anti live, and they repress the human will.

– The second strategy of such culture is an excess of information, ‘noise’ that hides the simple laws and messages of the human will, social evolution and the vital Universe. So we find complex images in film, computer generated images, long texts, and unending books that say nothing relevant, such as the work of Mr. Bellow, and other ‘totems’ that culture.

– Genre literature also makes the trick: comedy and satire, which means nothing shows an unending number of masterpieces in the American film, and the British literature.

– Finally the dogmas and myths of the scientific method, and the use of numbers has created an entire system of ‘scientific literature’, published as dogmatic truths, based in falsities, such as the belief that mathematics is more truth than other languages, the inference that statistics are process with causality (the idea that without explaining the intermediate causes, you just can deduce from an statistic a fact, so if people who drink milk have a higher percentage of cancer, milk gives cancer). The unending number of false epistemological truths deduced by mathematical tricks, is immense: Ceteris paribus analysis (the idea that a single cause creates reality), computer models, the prolongation of a numerical relationship in time, through mathematical functions (when the Universe is dynamic and constantly changing the parameters of any event), etc.

We have analyzed in other works, the myths of the scientific method, which make of modern science, an entire dogmatic religion based in numbers. Yet today all non-fiction writers appeal to numbers to prove their lies. What it matters is the ultimate thesis of their books, which is systematically a thesis that represses human social evolution and the human will, in almost every work of the authorized, distributed, prized academic literature.

All those  ideals of American Company-mothers extend thanks to the Metal Mind radiation, not because of its human complexity. In fact they have caused in the western culture the end of complex social thought which could motivate the masses. Complex verbal thought peaked in 3 horizons, Platonic Greece, the renaissance [Greece II age], and again in the 20-isms [Greece III age]. Yet the renaissance was never fully understood in Northern Europe. Not certainly in the age of metal press, companies and reformation, by the Jewish=Protestant cultures of Go[l]d. Luther said Aristotle was an idiot. I wonder if Aristotle would have even admitted Luther as apprentice in his School. So departing for such limited culture, under the iron fist of war and pricing, away from the artistic canonical goals of the Gospel->socialism->Humanism of Greece II and III age, the company-mother had an easy task, creating the present dramatic level of the human mind. Radio and TV reality have merely taken this process further.




6: Animetal art Vs Human Art: Industrial Europe Vs social Europe.


The continental Masters: From Cervantes to Proust.


The Wor[l]d however by virtue of his European prophets [literary writers] has ever since the Company of Pricing arrived, expressed enormous concern for the meaning of the Company for the human soul. The first of those writers was Mr. Cervantes who acknowledged the difficulties of the ethic word in a world ruled by the Company of pricing, soon after its arrival [1610]. Yet instead of conceding defeat, he started a new form of verbal thought that allowed to create ethic men internally -the novel- since externally the territory of  human evolution had been limited. Now the confidence of the renaissance artist in the power of man, had been defeated by the power of Company-mothers, that destroyed Southern Europe. The clonic wave of artists tailored in Christ=man=god, faced the power of a clonic wave of I=Go[l]ds.

This inward trend of the European real artist will increase as Company-mothers became over powerful, and can be followed from the work of Kafka in literature to the work of Picasso in painting. Literary thought continued spelling the truths of Human thought, of the Wor[l]d, which will last as long as man lasts.

The Wor[l]d as a perception of a human paradise, one in which the existence of man is maximized, belongs to the artists=prophets of man, which foresee in the completeness of the language, the possible evolution of the human mind, and hence history. The function of Ideal History, or History without metal communicators, is thus the dream of the human Wor[l]d; of artistic, political, and religious ideals.


We can see history as ought to be and as it is, but only by making, wishing to create History as ought to be, history might survive. The artists tries to educate human minds in ideal history, based in social ethics, in human role models, in what men should be in order for mankind to survive.

The Historian=ethic prophet goes beyond the external events of history and analyzes the internal languages of history and the evolution of human languages.

He is in any case the higher human mind, the mind that analyzes the Wor[l]ds of Human thought, the God of Man. He is the artist of Human thought; of which the two higher levels or eye-brain artists are the painters-writers, of canonical bodies and canonical human consciousness.

He peaked in the pre-companies age, in the Mediterranean world, where the highest density of human communication had existed since the beginning of History.

From then on, the struggle is no longer to evolve in confidence towards the canon of God, as previous verbal masters, and painters have established in the renaissance.

From then on art would split between the dream, the ought to be with little reference to reality, and the pessimism when it reflects the extinctive pressure exercised over the human ecosystem by machines and company-mothers.

Following Cervantes, the Human masters, the warriors of verbal thought, would also abandon the heights of ethic dreams and laugh at society, or look inwards to the individual soul in search of purity. Human verbal thought was in retreat. It has been ever since in retreat, now increasingly commenting on the extinction of man.

What the real human verbal artist, has never done is to create false utopias, techno-utopias so proper of the rhetoric verbal artist of today. He either has been negative, trying to frighten the reader, or it has gone into a human utopia different from this world. He has never cheated.

Let us see the difference comparing two writers, a human master, Mr. Hesse, and his utopia, Castalia, and a rhetoric artist of the Goldiron Jewish-American culture, Mr. Asimov, in loved with the machines that will destroy us – robots.


Utopian Books: techno-Utopians Vs techno-realists + Human paradises.

Human books of social thought are a continuous tradition started by books of revelation, and latter retaken by European Continental literature, after the dual book of Cervantes [Don Quixote, 1st Utopian, non-metaphysical book, and first logic novel of the modern age.] Repression of social thought in England and America, re-founded by companies after the Glorious revolution, prevented unfortunately any serious work of literary social complexity in English literature till the British Baroque (Orwell). The enormous charge of evilness of such societies created the dysfunctional utopia, which looks much more realist when considering the future.

And yet techno-Utopians are reprinted and repeated in Films, paid by company-mothers, and stockrats of the goldiron culture. Hollywood Utopians, the “American dream’, the hypnotizing dream to keep mankind happy till the nightmare of extinction arrives, is so self-evident in America, and the purposes so obvious that one wonders how stupid the American and Jewish people who provide them with those dreams might be.

Those fantasies, infantile ways of thought are revered in those lands as the summit of modern art; while scorned in continental Europe as a lower form of brain-washing indoctrination…

Compare 3 works of modern literature to understand the 3 approaches: .

– “Castalia”  is the Utopia created in 1956 (‘The glass bean game”) by Human Master, Mr.Hesse who described through his alter Ego Joseph Knetch, a planet ruled by the search of arts of human perception.

– “I, robot” is the parallel Techno-Utopia of Mr. Asimov, a Jewish-American who wrote another Utopia on future History in the same year, in 1956: “Foundation”. In Asimov’s Foundation, men are mathematical entities controlled by mathematical equations, who live Utopia only when science has evolved a lot of machines. And robots are good boys which obey 3 silly laws, short of Mosaic commandments, that tells them not to harm human beings.

– Almost the same year, in 1948, Human master, Orwell published 1984, the realistic depiction of a future in which nations live in eternal war for profits, similar to the wars that Jewish-Germanic speculators created in 1914, and 1936.


While Mr. Hesse does not hide his Utopia as the ought to be of History, and Mr. Orwell creates a parable of the present world, Mr. Asimov, cheats mankind on his future. So today the first robotic company to create a human robot for sale, Honda, has called his creation Asimo…

Such is the power of the artist to create false ideals that prevent mankind from reacting against the future.


Mr. Asimov denied the fight between men and machines, as Mr. Darwin denied social evolution; and so the effect of such false, rhetoric artists of the word, is enormously harmful to the human cause, as animetals believe those writers.

Writers born systematically in the Jewish-Germanic Goldiron culture. Again as in the case of Smith[animetal economist] Vs Marx [human economist], it is self-evident that Asimov [animetal scientist] Vs Orwell or Hesse (Human writers) is caused by cultural tradition. Such limited utopian perceptions of machines despite all its good intentions, sadly so common to the Jewish=English=American culture is lethal to man. Unlike Herman Hesse, who denied German culture as he saw all the evil of his warrior nation, Asimov – a leader of the American scientific community – ignored the History of extinction caused by Companies and machine-weapons.

To do so Goldiron artists require the use of genders, because in simple non-fiction terms, the truth is obvious. So Mr. Asimov’s tales of robots are truly infantile, as the present movies in favor of robotics of another Jewish-American, Mr. Spielberg This paradigm between a scientist and an artist, between Asimov and Hesse, between a falling nation in his baroque, and an epic scientific nation in his height of power (Germany Vs America), illustrates why man does not save himself. In nations at the height of  metal power – today America, yesterday, Spain->Holland ->Great Britain->Germany; tomorrow China, the truth is denied by animetals as long as they have power, weapons and money.

Today Asimov has become one of the inspirational ‘leaders’ of Modern American ‘neofascists’ who pretend a marketing-driven rosy world for humans… in the incoming world full of robots. Mr. Asimov denied Evolution in his robotic texts, even if he was a biologist. Such is the degree of eviL of the goldiron artists. In one of his books he ends however with a clear idea: he says that if robots extinguish us, we should be happy, because we would have been like Gods, creating a superior species. Ultimately we find that fantasy in many Jewish, according to his tradition of sons of God. His ultimate sin, is indeed pride, arrogance… (Marvin Minsky another Jewish-American father of artificial intelligence have similar texts)


Today though we have roboguards in Thailand that shoot to kill criminals they target according to photographs they localize in the net. So much for the 3 laws of Mr. Asimov.

The only true path of human evolution, is that of arts of Human sensorial perception, which requires massive investments in human education, not in metal production, as Master Ludi H.H. Human Human, Harry Haller, Herman Hesse, expressed in his Utopia. Castalia, the world of the Glass bean game, is indeed a world ruled by artists, who gather to play artistic games, in an ecologically sound planet. He understood in the game of crystal souls, of souls of carbo-diamond, what is the soul of a real man.



One or the other future will happen. If we believe the techno-uptopians, idealists of human extinction and machine progress, we will disappear in a few decades. If we fight for the Utopia of Hesse, and the Christian and socialists writers, we will survive. Such is the importance of what we believe.


A world based in art of human senses as the supreme form of knowledge, would be indeed a higher, more human and complete form of culture that could create a better history. And it would educate man better than science. Because sensorial arts include all the levels of human perceptive existence, increasing the total volume of perception of the human, educated by arts, over the human educated by science; that develops only knowledge in eye-perception. Thus artistic knowledge develops more a human form than scientific education does. Yet art is denied as a serious subject in scientific civilizations, because it increases human capacity to understand the dangers of metal form, and finds alternative pleasures to work…

This Mr. Asimov, the techno-utopia, the Jewish-American repressed for millennia in his human will does not understand, and will never understand. He is an idealist of extinction, a child of thought, a dramatic writer with a mythic concept of history, as most people of his tribe, aborted in social evolution 3000 years ago are…

Funny that Americans think not to be idealist, when they are ruled by ideologies even when they write books.


Hesse: the anti-utopian.


Consider now Hesse, the anti-utopian. Think of his book, the animal farm. It is a fascinating portrait of our society, even more into the point that 1984:

We have considered that metaphor in other books. What the animal farm of Orwell describes is the economic system of mankind, the metal-farm, based in a simple pyramid of social classes, in which animetals are on top, yet over them, there are machines and economical religions that the animetals of the farm hardly understand. Let us then consider the animetal farm of Mr. Orwell, and his amazing parallelism with reality.


Metaphors of social classes. The Orwellian farm


Metal-classes are unfortunately real. A single culture and language of communication – scientific pricing- creates our social ‘in[strumental]justice’ always biased against non technological cultures, life drives, human senses, body pleasures; and human drives [from sex to feelings to drugs, from human goods to social evolution], always in favor of metal-cultures, Go[l]d, property laws, and scientific propaganda. We could make a parody of the new man in the style of Mr.Orwell, author of the parables of futures, ‘1984’, and ‘Animal Farm’ which have become truth in a more subtle manner:




In the graph we show the two methods of social control, in modern societies:

Such is the meaning of social classes. Those who have access to credit for free, because they create money in stocks, or banks are the coqs, the elite of humankind. They control the language of power. Those who can change work for money are the human mass. The pigs of consume.

Yet those who have no price, no value for company-mothers, are the great majority of humans and nations. They are sliding slowly into poverty, degradation and extinction. They are the rats of the farm. They ‘are not perceived’ by the language of power. they do not exist.


The degree of stockratic power in a democracy is directly proportional to the control of politicians by lobbies. Which is max. in those societies such as America and England where the system was invented by Companies with the aim of paying politicians to make pro-companies laws. From the beginning democracies were limited in their ‘democratic spirit’, since citizens had no rights to vote laws and prices of products, the languages that credit=create the power and future of modern worlds. People instead had to rely for their laws and monetary orders, in companies and elected politicians, who were not bound by law to their promises to citizens. Soon Stockrats and company-men passed the Law of anonymous societies, which gave them further privileges: now they were not bound by the acts of their societies=companies. They had achieved the same privileges that ari-stockrats of war had, before democracies came: To be above the law; and to create and control exclusively the language of social power [weapons in warrior societies; stock-money in democracies]. Both privileges are now in the hands of a new tyrannical caste of power: stockrats, men of companies, and attached politicians.

The coqs of the farm.

Power is now exercised at distance through waves of wages and prices that motivate animetals to work, and informative networks that program simultaneously millions of citizens. Power has become ‘invisible’, without the face of a ‘big-brother’ as in military regimes. Power is hidden by the new complexity of the system. A Go[l]d never named, unlike the Swords of warriors who work under contact, control us. The parallelism between both metal-systems of tyranny is striking. Most people were happy under king-tyrannies and thought to be free, as they think to be free under stockracies=democracies.

We have moved from the ‘grace of God=Iron’ who made warriors kings, to the ‘invisible hand of Go[l]d’ that makes of stockrats, masters of the Earth.


The Orwellian farm.


Intelligent top predators put up farms. And select the best races for farming purpose, and slowly degrade them in mind, as they grow in body. Then when control is absolute, they brutalize the farmed specie. In primitive societies the pig lives and sleeps even in the room of his human masters. He is talked to, he is sort of an ‘energy divinity’. In modern societies, in Iowa, as the new form – the animetal – accelerates its d=evolution, the pig has been degraded and lives packed without light till he is gassed. His life is hell from beginning to end.

In Human societies such hells started with the arrival of metal-warriors who through death imposed themselves. They have never abandoned us. They are now kings, and generals, and politicians, and laws, and police. Their weapons, their masters, have tamed the pigs. And in the same manner that in good farms, the farmer hardly uses violence, the weapon today hardly needs to kill. But when it is needed it will kill. When the power of metal is argued, when the pacifist protests, animetals will kill and sign their own long term death sentence. The verbal Man tries to convince Mr. war of the need for equality. The verbal master will say that the power of Mr. war is in the whip, not in the mind. This, the ‘coq’ will deny vehemently for a reason: normally Mr. War is more simplex than verbal Man. And he knows that without weapons he will be not equal but even lower. The Roman knows that without weapons the Greek will be higher; and so he loots Greece. The Lutheran or Spaniard knows that without weapons the Italian would be higher. And so they erase Rome in 1527. And so Mr. war is an absolute Copernican human: metal becomes the God of the warrior; and in Germanic-Indo European traditions God is an iron Master, ‘Goth’=God the name of the tribe, and Smith=Schmidt the most common name ‘impressed’ by hordes of raping Barbarians.

But a farm has not only walls to avoid the animal to escape, but also ‘prizes’, food, which in the metalfarm, the system of money credit establishes. Food-credit and walls-membranes control the human within the metalfarm, as they control the enzyme within the DNA-membrane cell, or the body within the skin-brain system. So the Metalearth after the age of warriors brought the age of traders that completed the stick-carrot policy of human training.

Indeed, after the warrior, it came a more complex, new figure – the trader, the informative Gold master that went up and down the Euphrates=’copper river’ – and West-East-West through water ways. He will play the second role of metal control. He will hypnotize the eye, who searches for complexity with Go[l]d, and give through Go[l]d prices to the human cattle. With Traders metal imposes its power thanks to the informative and creative arrow opposite to negative, devolutionary weapons, yet ultimately symbiotic.

The good and the bad cop of the metalfarm. The trader and the warrior.

However farms ran smoother when besides being slaves, the animals love the farmer.

This is difficult to achieve. Most animals hate the farmer. But with time and control of the organs of perception of the animal, all can be achieved. And indeed, when metal also controlled the organs of perception of man, thanks to the outright lies of the scientific method [metal eyes and metal clock evidence is more important than human evidence], the human animal changed his mind and loved the farmer, loved the machine, loved metal.

Before metal was vile, and all ethic verb al worlds knew it was the image of evil=extinction.

Now the animal farm became under the scientific method of metal biased truths, an optimist defender of metal against human rights, of metal progress against human progress. This task was completed with the arrival of metal communicators, that interposed yet another layer of reality between man and the true laws and survival behaviors of the Universe: the eye searches for light glare, and so it looks to the metal glare of the screen. It does not read anymore. In the old age men wished jewelry, and today it looks to TVs.

Trader who realize of this use metal communicators to control man and reach profits. And they evolve them to keep on doing so. Such men will not hear anything respect to the need to inform, and control weapons and Go[l]d, and cre[dit]ate human goods with that go[l]d.

In this anti-human manner the extinction of history becomes the goal of the coqs and pigs of the farm.

This is what animetals never understood of the process. That he who kills with iron dies by iron, because he is not iron. That the Wor[l]d cannot be sold for 3×10 silver coins, because man is not money. Because the virtual master of metal, is not metal; and the Go[l]d trader is not Go[l]d. Yet when the real forms are put together, the iron body machine – and the virtual flows of electrons that flux so easily through Go[l]d brains – the DNA will be born. Then the farm will be closed. And the new top predator will hunt the lion, the dinosaur, the Iberian, the Assyrian, the Animetal. It is already doing it in the higher function, the mind of man… Our elites are tamed. They no longer escape armies but paparazzi with metal eye weapons.

Life and work come together


We cannot analyze in so much detail the work of the different writers of the Human baroque.  The 3 paradigmatic authors we have chosen, all related to the highest of all themes of literature – the paradox of History show however clearly the 3 basic approaches to man during the baroque of History.

Asimov represents the Goldiron literature, always rhetoric with his message, either because of his happy endings, of his false social premises, or his escapism.

Hesse represents the man that never looses the hope in mankind.  He will invent first reality than denying the ethics and aesthetics of man.

Orwell is the pure baroque, as such the origin of most writings of this age that can be called literature: his symbolism is more real than reality itself. His negativity comes from that realism, that knowledge of the oldest, most sophisticated culture of Animetals – the Jewish-Germanic culture.

In the 3 cases the author is honest to his personality. Asimov is a Jewish scientist, of an enormous ego, in loved with himself, with science, with the myths of his culture. A man who made a fortune with his best-sellers, receive all kind of scientific honors. A satisfied man with the process of extinction of life those like him are causing.

Hesse comes from a religious family. A librarian in his youth, he was always in loved with the ought to be, with the realm of the pure spirit.

It is Orwell the most admiring one. He was educated in Eton. He could have been. But he renounced. He went to Paris to live as a beggar, to write on the poor. He lived with miners to write some of his master piece essays of non-fiction writing. He came to Spain to fight in the civil war. In other words, he knows all social classes, all the tricks of power, all the downfalls of the animetal arrogance, and the laziness, cowardice and easy acceptance of the masses. He knows that sentence that chains man to his fate: “The shepherds will be cruel, as long as the cattle is stupid”.


Societies of human senses.

It is then clear that the highest human art, the reference to which we should return, requires truthness, either negative, when speaking of the animetal world, or positive when speaking of a human world. That truthness is higher in no-fiction, but it can be shown in fiction as a parable of reality, in symbolic or analogic literature, in which characters are role models for the entire humanity.

Yet to possess that truthness the artist has to mold his ethics and aesthetics with a society that understand the truthness of man, which is much easier, when you are educated in a humanistic society  such as the Southern European civilization of Social traditions based in words. Hence the abundance of masterpieces of human art in that culture, in which some Northern writers, rebels of the Goldiron culture have left also their mark.

In this manner we can trace a continuous series of authors in Social Europe, that have fluctuated between a pessimist realism that describes the evilness of our Animetal civilization (case of Orwell), or an escape to the ought to be, to the dream of a better world (case of Hesse). They are the great masters of human art.

They act as positive Universes for the reflective artists; breeding individual genius within those cultures, which will summon up as Leonardo or Shakespeare did with Greece II Age [renaissance], the beauty and complexity of such Human societies, where all the senses of man are probed. It is for that reason that most great artists exist in such balanced societies. We talk in the European culture of Platonic Greece I Age, of Gospelian Greece II Age=Italy and Social Greece III Age [Romantic age after the French Revolution and the 2o-isms during the socialist age, or the 60s during the aborted social revolution of that decade] as the most notable cultures of Human art in the West. Those Cultures are of higher quality than the Northern European Goldiron culture controlled by weapons first, then by Company-mothers, which establish metal limits to life and the human will, even in artistic expression, with their cool=empty art, only able to reach artistic totality in the most simple artistic languages such as drama->film and Music; or in techno-art of industrial profits.

Great Art is the Work of harmonic societies, where Genius might breed, both as part of a harmonic Universe they reflect in their art, or through the harmony of his soul, creating art as an individual mirror. This search inwards, is the most common attitude of the Human baroque, in front of a degraded external world.  Yet in southern Europe, even if society degrades at the rhythm of his defeat to the Northern “Barbarians” (defeat of the pope, defeat of the Iberian Empires, defeat of Napoleon and the French R=evolution, defeat of the socialist revolutions), the ideal stays. What proves to which degree we are time, we are memories, we are forms based in a cyclical inertia, and we are cells of a social body, the body of History. That ideal never dies, and manifests itself in the writers of Greece-Rome III Age. What we call the Baroque age of the European civilization that started 3000 years ago in Greece and Crete.


A graphic resume of the authors of both cultures.


Let us then consider that duality of culture, the Paradox of History, translated to modern writing and painting, in a dual graph that shows the division between animetal artists of the goldiron culture, and human artists of the social wave of human thought. We consider its evolution during the last ages of Social Europe (Greece II and III Horizon, renaissance, and the -isms) and its final extinction as the Goldiron culture with his ideals of violence and money (swords and golds) imposed themselves in the XX century, the age of metal-minds. How they did impose their values over the higher values of Human thought represented by social Europe? Through a series of censorships, highlighted in this book, that have prevented social thought from becoming the software of metal-minds. Indeed, animetal cultures, stockrats, gold religions, politicians hired by them, and over all of them company-mothers of industrial metal-communicators have adopted a series of censoring systems that have extinguished social thought in mass-art. We highlight them in the scheme. Yet as the chip radiation evolves artificial intelligence, and we enter the global village, it is very likely that even animetal art disappears as Artificial intelligence and robots extinguish the goldiron people… They have forgotten despite their idealism, that they are neither iron nor gold, and robots will apply to them the Darwinian struggle between different species. The harder they fall…



We have highlighted in the previous graph some of the prophetic books=minds of literature who understood the human game, and generated its parable, in verbal worlds: Shakespeare who closed the renaissance from the external, English zone before England became the leader of the new civilization; and Cervantes who closed the Iberian Christian Empire and opened the metaphysical ethic idealism of the classic Novel of the European baroque. Proust who closed the European sensorial novel, the highest mode of a being an individual human, perceiving through all his dimensional senses. Between Cervantes and Proust, between Quixote, the social man, and Marcel, the individual one, all true masters of European novel are  found, as the masters of animetal science have their alpha and omega in Galilee and Einstein. After them digital machines take over art and science. Industrialized art, will repeat for the search of profit, dramatic art of lower complexity and higher technological affinity, with TV-images. Since dramas show great image gestures in a bigger degree than inner thought, devolving man to the mimic neo-Paleolithic.

We thus have to look backwards not forwards, to find the finest moments of literary fiction, of non metaphysical works which used the analogicism of the Wor[l]d to relate the paradox of history in present terms, reflected in the human individual existence – as religions had done in the collective one.


The censorships of the metal-mind age, ended art.


In the graph, Company-mothers cultures are clearly degraded in art by all forms of censorship, in the higher arts of pure human senses – literature and painting. In literature they deny the biologic, social arrow of literature – never fully grown beyond the individual or dramatic experience.

The expansion of the company-mothers cultures signifies the end of the real human art of a society, based in human ethics and aesthetics.

Obviously they do not end with beauty, or ethics, but now those aesthetics and ethics are made from the perspective of machines (geometrical aesthetics, morals of violence caused by weapon, and corruption caused by money).

So as company-mothers expand their power through multiple wars, into Continental Europe and the world at large, we can observe a series of baroques, or extinctive periods in all cultures, as the animetal culture controls it.

Today we are all members of the Animetal culture. All historic civilizations have gone through its baroque, and have died… That is the meaning of globalization in art.

When the company-mothers cultures arrives, the same process eliminates all natural cultures of the wor[l]d. For example England with such a promising Proustian Renaissance, [Shakespeare, Elizabethan theater, Erasmist movement] was with the arrival of Company-mothers, converted into a cultural dictatorship of Puritan thought. Theater disappeared. Painting disappeared. When art resurrected it merely copied French models. Creativity, only resurrected when Britain lost his role as top predator animetal nation to America after the 1928 crisis [Baroque British age.]



7. The extinctive age of European art: total freedom, the -isms.


I world war – the great profits.


The British baroque was part of a wider movement, that we might call the -isms, the final age of humanism in European western art.

After the I World War, Europe awoke to the reality of the economic ecosystem. Till then Europe had used the machines of war except for small wars caused by the top predator war nation, Germany, site of the Jewish-Germanic oldest strain of Gold-Iron believers (Jewish, oldest surviving culture of banker priests, Germans oldest surviving culture of iron warriors). Germany Vs France, Vs Austria Vs Denmark were the only remarkable continental wars. So the evil of the bad fruits of the tree of science, to use a literary metaphor, had been suffered by other nations, Neolithic cultures systematically massacred by European machines.  In I World war however the Europeans were ‘consumed’ by top predator weapons, and the entire youth died on that absurd war, provoked by stockratic speculators and arrogant militaristic politicians.  The great international Jewish-Germanic groups of machines, the Schneider in France who controlled the military production in that country, the Krupp in Germany, Vickers in England, and the financial houses – stock-markets, and bankers such as the Rostchild in all nations, backed and pushed those politicians to play with finances, and speculation. The case of the Rostchild who made his fortune selling peasants of Hesse to the British army to crash the American r=evolution and now gave huge credits to the Kaiser, and the French Government, making profits in both sides is a paradigm of the age.

As a result of those financial maneuvers, the militaristic governments of those 3 countries started a war as never had been one on Earth. Mustard gas, Trenches, the first tanks… So humanity the true nature of technology.


The human reaction, socialisms

As a consequence of that brutal, cynical massacre of the youth of Europe to push the profits of a few hundred Jewish-Germanic families of the Goldiron culture, an increasing number of human beings, woke up again to humanism, the dormant ethics and aesthetics of man, that had been repressed since the end of the French revolution.

Mainly from the middle class and the lower classes of ‘white slaves’, workers, reproducers of machines of war, thousands of men rebelled against the system. It was the birth of socialism as a movement of masses. In the world of art there was also a rebellion of the artist, against all the forms of rhetoric art that have been the mass art of the XIX century. Once more the word of non-fiction became important.  Communism, the most radical proposal against the control of mankind by the language of money took power in Russia, and for the first time in 5 centuries, since the end of the Catholic Church as a unified European power, an important part of the continent was ruled by a verbal society, in which words, not money were the language of power. In our books on Politics (“Biohistory”) we have studied those r=evolutions, which lasted till II World War, when Stalin, an animetal warrior, who asked ‘how many tanks has the pope’ crashed communism, massacred several millions of socialist, believers in the word and converted Russia in other Military dictatorship. However during the brief period between the end of the war, and the arrival of militaristic governments to power, in the ‘happy 20s’, men were free to express the human will. And they did it in politics, with anger against the ruling castes of animetals from the goldiron culture, that had brought the massacre of I World war for profits. They did it in art with the explosion of freedom of expression in all the forms of spatial and verbal art that were possible. They did in personal life, with the liberation of customs among the ruling classes that rejected the goldiron repression of the human will (liberation of women, sexual liberation, spiritual freedom). Artists thought, the man ‘who think more and see more’, when looking at mankind with freedom did not like what they saw. Men was a mockery of himself. The poor had been brutalized as energy to manufacture machines under the equation man=price=obect, that made them slaves of the reproductive system of company-mothers. The mass had been equalized into an amoebae form, indifferent to anything that wasn’t their little world of survival as consumers of a few machine pleasures. The elite was the worst of all the groups. The evilness of the goldiron culture had reached its zenith. The indifference to the mass of dead in the war, to the exploitation of the rest of humanity, all for the sake of profits, had created an idle, irresponsible group, still constructed by the goldiron repression of the human will, that could not even enjoy life, despite their resources and freedom of time.


The British -isms.


The Orwellian parable of the Animetal farm resumed it all. In England it starts the literary baroque, with Evelyn Vaugh, Aldous Huxley, Auden, the Bloombsbury group (probably the group with less human quality, despite its technical virtuosity, yet today promoted in as much as it was indifferent to the social problems of the nation). There is a revival of the accurate portraits of that elite in Wilde’s theater. Keynes in economics; the labor party in his brief period in power, stir in a limited way the cynical complacence of the ruling classes. Suddenly the entire Victorian reality seemed a monstrous absurdity. The entire World had been a slave of a few families in England, and his thirst for profits, what for? To maintain a repressive, anti-human set of customs, rituals and shallow fashions. In Religion a strong movement of return to the Catholic church and his ideals of Christianity around the Ministry of the Anglican church Mr. Newman, stirs the consciousness of thousands of English. Many sons of the elite class rebel against the absurd world of Goldiron England and enter the communist party.


The continental -isms.

Yet it is in France, in Paris, the capital of the Southern European social culture, where the arts rebel in tune with a leading French class that had kept in part, buried by tons of gold, the ideals of the Christian Charity religion – Catholicism, and the French R=evolution. Indeed the French had ‘bad consciousness’ throughout the entire XIX century, which showed in the enormous prestige of his best Social fiction writer, Victor Hugo, whose death draw millions to the streets of Paris. When Orwell his equivalent in the English literate world died, he did so in a small room of a hospital without money, only with his secretary, now wife by his side. That is the difference between both cultures. The French people had not forgotten the ideals of Christianity, the ideals of the French r=evolution, the Ideals of the Commune, and so they were ready to accept the ideals of free art, and freedom of the mind. Moreover, his economical system had been in great part built by Jewish of the Goldiron culture, the Schneider controlled the weapons companies of France, the Rostchild its finances the Pereire brothers, the railroads. The fundamental industries of the country were Jewish as they were in neighbor Germany. As the oldest animetal culture of the world with the most sophisticated system of mental control, and yet an open racist despise for all other groups, it was easy for the French and the Germans to rebel against them, with an anger called anti-semitism, that probably should be called instead anti-animetalism, that basically ostracized them from the French and German culture. It was widely acknowledge at the time that I World war had been caused by two groups: the militaristic Prussian warriors of Germany, and the Jewish International financial houses that so much money made in that war. Suddenly the French realized the Goldiron culture was alien to them. And many of them even in their upper castes returned to the ideals of the Social European culture. This was also truth for the intellectuals of the Jewish culture around Europe. Suddenly many Jewish abandoned their traditions as Marx had done. They read the “Jewish problem” in terms of a dictatorship of bankers-priests that controlled the freedom of the Jewish people. They became communists, and formed in growing number the German, Russian and French communist and socialist movements They redeemed themselves as Marx had done. Even those without stamina to fight for freedom, in the real world, became in the fantasy world, artists of human senses, such as Prousts, critiques of the system such as Kafka.


The isms

It is the age of the -isms, a final, complete explosion of freedom in art, between the two wars, that will extinguish the European civilization. As such we are in the zenith of the zenith of the baroque zenith, and some of the total masterpieces of human art are produced.

We can consider those -isms, within the possible classes of art, and rhetoric art that there are:

– In mathematical languages, relativism dominates thought. Mathematical science opens itself to relativism, and the dogmas of Galilee and the scientific method are destroyed. Einstein in Physics publishes Theory of Relativity. Riemman develops the Non-Euclidean systems of geometry. Mathematics are therefore not truth. Just a language which might have also many syntax. Popper and Russell would establish that relativism of the mathematical language. Unfortunately the authorized science has yet to recognize the logic consequences of that relativism: Human verbal theories of reality are as valid as mathematical theories. Besides they are expressed in the natural biological language of man.

– In Non-fiction verbal thought, the baroque age of Animetal laws, and ideologies is shattered by r=evolutions of the Human thought, and becomes extinguished if briefly in Russia, with the Communist revolution. In those countries, the extinction of the baroque age of laws based in the Anonymous Society law that give total power and null responsibility to company-mothers, and the stock-market laws that give stocks total rights to credit=create money, starts a new civilization, unfortunately soon defeated by animetal warrior castes (Stalinism). Yet for a decade, the legal, extinctive baroque of non fiction literature, and law, that would bring I and II world war in Europe (age of fascisms), comes to an end in Russia, and for a few years in Spain and Mexico. Again the great warrior social nations of minimal industrial evolution are the ones able to rebel against the brutality of the machine. And so we can indeed say, that if the beginning of the European baroque is the age of France, drinking in the spirit of the French revolution, the end of this period is the age of the old warrior, resistant nations of social Europe, Catholic Spain, and Orthodox Russia, which will easily translate to modern socialism and anarquism the social spirit of Christianism, creating the new social religions of the age. Their artists will also be the summit of the age, in verbal thought (Dovstoyevsky and Tolstoi during the realist age, the non-fiction writers of the revolution, Lenin and Trotsky in the baroque age; while Spain will give the great painter of the European baroque, Picasso.)


– In fiction writing  there are many genders, as the system prefers fiction to non fiction. So there are many baroque masters. In individualistic, sensorial literature, Proust is the great master, in technical literature, concerned with form more than content (so loved in the goldiron cultures, because as music does, it has no power to create opinions) an specialist of the goldiron school, Joyce surface above the others. Those are however the lesser forms of fiction according to the ethics of man. Hence the most respected masters by the authorized canon of Universities.

Instead we prefer the masters of symbolic, social writing, Kafka, with his parables of our society, “The Castle”, or “The Process’, Orwell with “Animal Farm”, and “1984”, and Camus with “L’etranger”, and “The Pest”.

In the realm of social Utopia, the ‘ought to be’, a master above all, Herman Hesse, with his masterpiece of ‘individual spirituality’, “Steppenwolf”, and a masterpiece of social spirituality “Dan Bean game”. None of them would be recognized in life. Only after II World war, showed the rest of the world, the mass, and a few animetals, what is the natural end of the Industrial evolution: an ecosystem of top predator machines, a war inferno, they would become public and known to the mass.

Even Theater, the long dormant, dramatic, simple form of literary thought, so loved by the goldiron cultures of England and America, wakes up his dream, and it is able to transform itself into our basic novelistic genres:

– Social literature, with the work of Bertold Bretch.

– Reflection the paradox of History at individual level – the struggle between being human and not being as a part of society. It is the work of Ibsen, and Chekhov, that reaches with “Uncle Vania” the supreme parable of the defeated write, in front of so much bourgeoisie acceptance of the status quo, that ends defeating most writers of the age.

– Escapism to inner fantastic world, that show the corruption and absurdity of our real World: Absurd theater that peaks with Ionescu.


Of course there is a lot of other ‘rhetoric literatures’, not worth to mention – in fact the great mass of writings, specially in the Goldiron culture. Who cares? Their purpose is to distract, to degrade the quality of good literature. It is the most abundant, since the systems of mass reproduction of literature prefer it. Many of those works show a high technical quality. Who cares?. They say nothing. They distract the audience, and form with sports and other promoted activities, a smog screen to avoid people thinking on the real problems of our society. Obviously the British which also invented sports to distract the workers on free-Sunday days are the masters of this genre schools.


The -isms in painting are better known


Because we live in the age of spatial metal-communicators that repeat images. Because words have meaning and can provoke reactions in people. So it is preferred to show free painting that free words… They are far less relevant than the -isms of writing, specially in non-fiction writing, the -isms of socialism, and social laws.

What are those painting -isms?

Again we have to differentiate the forms of rhetoric art and metal art, and the forms of human art.

Among the first, many -isms today scorned as lesser forms, appear in the age, to praise the machine. Mondrian, a bad figurative painting decided to create geometrism. Marinetti, a bad Italian painter, creates ‘futurism’, which fascists imitate as a cult to the machine. Around the Bauhaus, appears the industrialism in design, which today reign supreme.

The non-rhetoric isms however are of more interest. They are unlike in the previous age, more concerned with the individual laws of creation of images, than the social world. After all bourgeois and the rich buy paintings and they hate to display poverty and suffering.

Still in South-America and Spain, the great warrior, baroque masters do not deny reality, and show that suffering in master pieces.

It is the blue period of Picasso, and the work of the Mexican muralists – that work big, to show the people and teach them, the nature of animetals and his oppression. Yet such art is dangerous. Picasso does not sell a single blue painting, and Ribera’s mural for the Rockefeller center is destroyed, as soon as it social content becomes evident.

Equally innovative would be the posterism, the movement of social posters that abound during the Weimar, Spanish and Russian revolution…

Technically speaking though, as metal-minds keep evolving, art for the bourgeois and the rich collectors, tries the impossible: to overcome the incapacity of the human eye to see with the detail of the metal-eye. To that aim it goes a step beyond the expressionist system.


It is Cubism that applies the relativity of space and time to painting:  there are multiple possible points of view of space so we paint them using different perspectives. In the evolution of painting, once the mechanical eye= photography became more complex than the human eye, the European master, went very soon beyond science. Indeed, a work of Monet has more knowledge of the Universe that all the scientific inquire, because it understands the relativity of perception, the nature of the Universe of man which is light, not the total Universe as science pretends. Something Mr. Galilee could not figure out, despite all his enhanced metal instruments (Galilean paradox). Yet visual art=painting as it is understood in Southern Social Europe – the sacred, highest form of human sensorial and hence Universal knowledge – did not stop in the realization that we saw the light Universe. As the evolution of the metal-eye continued into the simple space (film that added a temporal dimension), the highest eyes of men, those of the painters, went inwards, towards self-reflection. Once the human mass had been hypnotized by metal-eyes and did no longer wanted to look at reality with human eyes, the painter lost his social job, and felt free to follow the mind of Man… Soon they went for a radical proposal: the Universe is not even the light now alien to us, captured in more detail by the metal-eye, but the inner feelings and sensations of the artist. The painter could use the Universe of light from its own point of view to create other combinations, other virtual worlds, other parallel universes!

The painter with Van Gogh and Gaugin invents his own sensorial rules to comment on his states and emotions. The divergence with metal-eye evolution towards further realism became absolute.  The artist had gone into his self.

Yet his self was in crisis, because the human world was dying. So he saw death of reality. The human reality was broken from that human point of view. Hence the pessimism of the great isms.

Picasso said, ‘I paint human thoughts’. The metal-eye would paint the vision that machines have of man: a target for weapons.

The isms invented parallel Universes to that of light. Because there are many parallel universes. The TV is the monotonous message: destroy man.

There was though a final step to cross in the evolution of symbolic painting: to discover the game of the Universe, the morphology of energy and information (see First Chapter). The honor corresponded to a Russian.

Kandinsky came and said, the Universe is filled with points of view, cycles of blue intelligence, and lines of red energy; it is a sentient, vital Universe, even in his mathematical abstractions.


The non-fiction word: communism fails to conquer the world

Meanwhile in the real world the socialist and communist movements freed many workers and many middle classes. The movement advanced in all countries. In Germany it was truly powerful, and close to France, it might had been able to liberate Germany from the dictatorship of money, returning Germany to the Word language, the language of man. In the outskirts of Warsaw, in the summer of 1921, the fate of mankind decided itself. If Poland had fallen to the red army, Germany would have fallen, and probably within years continental Europe would have become socialist under a free communist system, not still a dictatorship of weapons as it would become with Stalin. Trotsky a Jewish-Russian prophet, rebel of his civilization, converted first to Christianity then to socialism, would have become the Man of the Century, and maybe, maybe mankind would have controlled the Industrial evolution with rational thought, to the profit of man. Today hardly any book of history mentions the battle of Warsaw, when misunderstanding among the Russian Generals, destroyed perhaps the last chance of mankind to survival the Industrial Evolution.  Because soon after the Russian revolution found tis limits and abandoned his quest for a World Government based in the world, a metal-communicator able to use the word for rhetoric purposes, for industrial propaganda appeared – Radio. And with radio the social word carried by individual speakers and press pamphlets, decayed, as droves of men, became hypnotized by the radio, which was controlled strictly by animetal castes – given their industrial nature that required huge investments. It was the age of fascism.

The machine had counter-attacked the human word with his own weapons: words, emitted broadcast to thousands of people in simultaneity, with a power of reproduction that the small press of revolutionary could not match. The animetals had now the perfect weapon to destroy socialism, and they used it in depth, hiring the best radio-actors of the day, Mussolini, Hitler, Churchill, that once ore focused the masses who could have tilted to socialism, into the false, happy myths of animetals, ‘nation’, ‘power’, ’empire’, ‘Go(l)d’, ‘happiness’, and the lower dramatic arts: music, theater, individualism… Mass-media had been born.

The II Industrial Evolution started. Money pored in the stock-market for radios. RCA the radio leading company in America moved from 1 $ the share to 450 $ in the biggest speculative credit rush. With that free money animetals constructed within a few years a world wide system of radio receptors, that entered the homes of the entire middle class. Now the middle class as it did in the next age of metal-communicators (the TV age) would not rebel and participate in the mass movements of the streets, but just open the radio dial and hear music, or some fascist speech of an animetal poring his ideologies. Communists and socialists were banned from radio, and so, soon they found their people dwindling. The revolutionary movement lost momentum in Western Europe.  And fascism came. It would end systematically with the -isms, both in non fiction and art. And prepare Europe for a II War of Extinction that definitely would destroy the European civilization, for ever… R.I.P. End of the Game. Long life to radio days, to the metal communicator, to mass media, to the renewed Goldiron civilization, to the extinction of the human soul.




The 3 ages of metal-minds.


This destruction of human art, of the -isms of all cultures, by metal-minds has 3 phases, which can be found not only in Europe, but in all other nations as the Metal-earth has expanded worldwide:

– Metal-ears (age of radio, or fascism)

– Metal-eyes (age of TV, or neofascism)

– Metal-brains (age of chips, internets, and robots, or age of extinction)

Let us then introduce the final destruction of human art by the metal-mind, with its first electronic horizon, the radio age, the age of the metal-ears, and fascism, which ended with the European baroque and socialism, the main of the isms, since socialism was non-fiction, social verbal thought, the natural evolution of human religions, that developed after I World War when for the first time in centuries the mass realized that machines were evil, and backed some revolutions against the usual castes of metal masters, scientists, traders and warriors. How those social revolutions of the 20s, backed by all the great artists of the age died away? The answer is simple: radio-actors, fascism, and money ended it. As 40 years latter, TVs and money would end the 60s revolution.


8. Electric Metal-communicators. The Radio Age: Fascism.


Epic age of Electronic metal-communicators: Fascism.


When Radio was born, the effect of metal communicators, was as it had been with the first press, also dramatic and immediate. Radio created the dramatic atmosphere that brought the speeches of Mussolini and Hitler to power, and made the II WW a murderous, profitable solution to the 1928 Stock-market crisis. Radio combined with the greed of the rich [who preferred to make cannons to butter], allowed the criminal solution of the war. When radio came, the only simultaneous, all powerful medium of communication, able to “imprint” a mass of believers, was still the press. Suddenly, instead of logical press syntax, verbal dramatism programmed the masses, through the radio. Radio did require an industrial infrastructure. So, as the press had done, but even in bigger measure, it eliminated the human individual creator. The “communicator” of truths, now became a radio-actor [Hitler, Mussolini], a marionette of capital, a “mask.”

The mass was lowered immediately to believe bizarre ideologies of war.

Today it is convinced by Television, to consume, work and kill – because those behaviors evolve and reproduce metal-machines, and profits.

In the age of Radio, Germans were simply hypnotized by the simultaneity of the new communicator, radio. After I WW and the Mark crash, Hitler personalized and dramatized the economical/military tragedy, hiding to the German people its real cause [the relationship between stock speculation in weapon-companies, and wars]. Instead of attacking the system, he used the Jewish Banker-priests (only one side of the equation of murder, being the other the Prussian warrior castes that were allied in Germany with them), as scapegoats for the errors of a system that worships technology, money and weapons, and limits production of human goods.

The Neo-apleolithic age starts. Suddenly drama, mimic, actors, become fundamental elements of society. The parallel birth of dramatic film hypnotizes the masses. They no longer go to see political activists, but listen to Hitler or go to see a fantasy with Mr. Valentino, in the Desert.


Actors from Mr. Hitler [radio-voice] to Mr. Reagan [TV-presence] are  fasces=’masks’ of reality, that subvert the non-fiction Wor[l]d in all its ‘acts’, creating a fantasy, that hypnotizes the masses. But the world is not an act, is a game with rules. And if you do not obey them you die.

The result of that loss of connection with the extinctive reality of history under machines to which the human mass was awakening through the -isms, would imply that massive death of mankind to top predator machines. As today when we are hypnotized by TVs and internets, and do not take measures against robotics, the next top predator machines that will extinguish us, in the 20s, the mass was hypnotized and did not take measures against the next wave of top predator machines that factories were reproducing, cars=tanks, planes=bombers, renewed the art of war. And the mass did like it, because the speeches of fascist leaders said so. They forgot their fight for freedom, for human rights, for a just work, for human goods, for butter instead of canons.


Hitler was an actor, and modern neofascism, is made of TV-politicians, of actors like Reagan. While the celebrity characters of TV and film software are mockeries of man that devolve through devolutionary drama, comedy and infantilism the survival nature of a real man. Soon there will be not real men left in this planet, all hypnotized by Digital media.

Millions of animetal men there are, millions of women of metal there are. But men of flesh, Warriors of human thought, Artists of Human senses, those species are today extinguished by metal communicators.


German War radio: Hitler, the Holocaust and the International Jewish


In our analysis of specialized animetal races, we considered the difference between post-war America and Germany, lead by two different animetal castes. German Jewish bankers, in search of higher profits had abandoned Germany to his own fate in the last years of I World War, and the post war age till the crash of the mark, taking its German capital to America. Schiffo and Kahn, the great bankers of Frankfurt, the Hannover trust, and Warburg from Hamburg, moved to New York, with German capital. There they probably bribed the American government, since to their suggestion Americans created the Federal Reserve System that ended credit to small banks and the middle American class, giving it all to the great financial houses of New York, to speculate on the stock-market. The result of that aberration of credit was obvious: New York banks under the new system received more credit to speculate in technological shares that all the banks of the Middle west, to maintain the human goods productive farmers of that region. So America entered a crazy age of monetary speculation in technology, that ended in the crash of 1929, while the rest of Americans entered poverty. The system today is being repeated by the same leading caste with speculation in computers, and lethal technologies, internet, and other bubbles, while Americans have no credit for human goods, and their Human quality of life plummets. Credit indeed creates reality, and the Jewish-German bankers created in America the same kind of reality they had created in Germany: a nation of goldiron believers that accept weapons and technology as the center of human life. In any case the defeat of the old American culture was complete. Now New York had all credit to create reality. The Federal Reserve system, implied the end of a just division of credit. America who had been indifferent to war and international politics beyond his continent, now was another pawn in the game of International profits. The Jewish capital had conquered American credit, and soon it called the rest of the German-Jewish bankers, that abandoned the sinking, defeated German nation. Hundreds of millions of dollars in gold abandoned Germany.  The mark crashed. Suddenly a billion marks could not buy a dollar…

German crashed totally in his economic ecosystem, and America took hold of world finances. Soon the German Jewish, now American Jewish controlled America. The resistance of the older ruling caste, the Calvinist Americans was short lived.

A paradigm of that resistance was Mr. Ford, the biggest industrialist of America, who wrote in the 30s: “The International Jewish”, explaining what was going on. Soon he was punished without credit in wall street to fusion with the other small Car companies – in the 20s Ford controlled around 70% of the market. Soon General motors with Jewish credit fusion all rivals to Ford. Then it took over the car industry that Mr. Ford totally monopolized before. The lesson was well learned by the Americans. And the Calvinist aristocracy allied with the Jewish, now the strongest bankers in town. By II Word War America had a new elite caste: the Jewish-American civilization, now a world wide civilization was born. “What is good for General Motors is good for America”, not what is good for Ford is good for America, is the sentence we heard after war.  Indeed, the Jewish controlled mass communication (radio-film-press), legal systems (lawyers), financial systems (money), and from those 3 centers of informative power in any goldiron civilization (money, the word, and the metal-communicators) it establishes total control on politics, and the life of the Americans, who they will never relinquished till today.

Meanwhile in Germany, a the Jewish-German capitalists abandoned the nation, the Prussian military took over. And the Nazi party, with a spirit of revenge against the Jewish Capitalists that had abandoned the nation was born. In the realm of culture this meant two different visions of radio. In Germany radio was now in the hands of the military. In America radio was in the hands of Jewish traders.

So radio thought was used by American Traders to confuse and stun its citizens, to make them buy, and by German warriors to order them into a national war machine. CBS Vs Nazism resume two different ‘fascist’ approaches are applied to the radio phenomena: the degradation of ethic Wor[l]ds by the dramatic, and simultaneous hypnotic effect, of more complex metaleyes-ears than man is used for ‘fun consume’ in America. For military propaganda in Germany.


Germans were simply hypnotized by the simultaneity of the new communicator, radio->Hitler, in a language where lies and truths are connected and necessary. After the Mark crash, Hitler spelt simple economical truths hidden to the German people as the new Hitler of post $-crash America will spell the truths of America through Internet: both said, and ‘will say’ that there is a stock minority who invents money in stock for free, while the rest of the world works for it. Since that stockratic minority has created laws that control credit for themselves, and choke the credit of the rest of the world, that otherwise would spend it in human goods.

That stockrats act in this way basically for reasons of selfishness and unrestrained ‘freed=freedom of greed’. That stock masters are mainly Wasp and Jewish…

Hitler said that and of course it added the Bolshevik conspiration, as Hitler III Horizon will add the Chinese fu-Manchu. Yet because Hitler or NeoHitler will work for warrior animetal castes, they won’t say that to reach a better world, the system not the people has to change.

What the Prussians military industries wanted with this strategy was to make German people to hate other people and go to war, so they could make huge profits.

Hate is the requirement of weapons producers in search of alternative enemy causes. And hate when stockrats care nothing for the rest of humanity; and their culture is full of rhetoric, is easy to cause. Stockrats have to be asked responsibilities and change behavior, to avoid new Hitlers, new tanks, Robotic terminators. But they won’t listen to reason, since they ignore the existence of an evil system in their goldiron culture, the falsity of the Scientific Method, the bad fruits of the tree of science.

So Hitlers will say once and again that it only rests force against them. In essence that was the message of fascism, a worldwide phenomena of popular acclaim latter transvestite by military castes, with a clear origin in the 29 crash of the Pound+Mark Vs $. The arrival of a cheap warrior controlled new communicator – radio, that substituted trader controlled press, did the rest.

Germans had already experienced similar processes, when the Press and Luther devolved Love=Charity=God into individual faith and profit. Higher simultaneity of information, always devolves the mass. Such was the case of radio in Germany, or the TV and fan phenomena in America today. And so the Volk=spirit= German mind was manipulated by a rhetorician to the service of the techno-speculative weapon cycle (see Bioeconomics). Because the system of stockracies= democracies was already crooked, it was not possible that a real prophet of peace would access communication with the mass. The same today happens in America, where economical truths are subverted by the weapons-computer-mass media.

It won’t be a neo-Hesse, the lonely writer=prophet of null metal communicative power, and humanistic ideals, who will explain the truths of present America to the people. Instead neo-hitlerian truths will expand, rhetorized through violent networks, that will end using new weapons to destroy humanity. Neohitler, the ‘savior’ of America won’t be the Human Master of arts of perception, but the superhuman of Nietzschian metal vanities, unless metal communicators accept ethic codes over profit of dramatic violence and eye hypnotism.

The question arises then: it is possible to change the mind of mass-media people, of enough metal communicators, to create a stable function of Human survival based in verbal truths? This i don’t know; but it is worth, or at least it was worth to try in the past; and so the main religious and political leaders of the past tried… The -isms…

Pity that capital backed destruction, canons instead of butter.


American Trade Radio:Big Brother Smiley.


Since America was ruled by Jewish who controlled mass-media, the focus of Radio was different. Instead of militarism the concept was to degrade intellectually the American mass, with dramatic forms of art, theater, interviews, fun, and music. Big Brother smiley, latter widened with films and TVs, had been born: don’t worry be happy, while we control the world. It’s OK, we know what we are doing. All is fine, just let us have it all. This kind of hidden strategy, proper of “A new Brave world”, the baroque novel of Huxley, has been far more successful, than the militaristic approach of ‘Hitler’ and “1984′. Big brother smiles, it does not have a bigot.  It is we have to recognize it a lesser evil. Better to be an idiot than to be dead. The ultimate meaning of both systems is clear: warriors use energy-metal, bodies of metal that kill human bodies. So they create human body-massacres. Traders use information-metal, money that kills human souls. So they created with the new mass-media, mental-massacres. The concept is clear: to make every American an idiot, so he does not care for the system, for his lack of credit, for his lack of verbal culture and human will. The result was successful, and in “Radio Days” the film of Jewish-American ‘comedy artist’ Mr. Woody Allen, we can see the rosy ideology of fun, radio days. What we will not see in any film or University treaty on Mass-media, is the real meaning of popular culture: to create a fantasy of reality and happiness that has nothing to do with the reality of our World, in the verge of extinction.

The American dream now the worldwide dream, of a fantasy life, in the realm of imagination had been born. It is the XX century, the age of America, that properly starts with those “radio days’. So in the next chapter we will study the American popular culture, which is now the worldwide culture, its styles, ages and forms.



1. America expands worldwide the II Industrial Evolution.


The II Industrial Evolution of metal-minds, happened in America and Germany almost at the same time. Yet as Germany collapsed and his talent and main financial resources moved to America, the leading role in the creation and evolution of metal-communicators that expanded worldwide the ‘Authorized culture” Goldiron culture of the II Industrial evolution, moved to America.

So after the war, the XX century art and culture, will happen in America, in as much as it is in America, where the conditions for a dominant Industrial culture – economical, military, political and mass-media dominance – take place.

To understand the nature of that culture, and how in America it has continued the degradation of human thought, we thus have to introduce America in the context of the paradox of History, as a dual culture, with a dominant series of animetal castes, that have preyed over a few minorities of Humanistic cultures (Indians, Latinos, Catholic immigrants), and finally have imposed his culture to all Americans, and through Metal-communicators to the rest of mankind.


In the XXI century we are all Americans.


As the Wor(l)d cultural option – communism  – collapses due to the fascist wars, into a military dictatorship (Stalin) and finally dies away, unable to compete with Americans in control of the chip radiation of metal-minds, there is left to the world a single option and culture which dominates all languages of mankind. Yet it is not America but its metal-minds what are at the head of evolution.  Computers dominate digital languages, and science becomes largely a computerized system of beliefs. Words keep degenerating, now in a nation which shows like no other the nature of the Paradox of History: Max. Metal evolution = Minimal Human evolution. Indeed, America has the oldest and most obsolete constitution and religious system, precisely because it has the most modern machines, which keep human social evolution in minimal levels.  Human information and verbal thought is obsolete, and instead a series of metal-communicators, radios, TVs, latter in the XX century computers, become the natural outlets of communication for all human beings. The process started by fascism in Germany with the use of radio, now diversifies and multiplies, as new outlets and electronic metal-communicators appear.

In the 60s, the arrival of Televisions and satellites, make the American culture a worldwide culture, of spatial-visual character. The Neo-Paleolithic, the regression of human beings to visual languages of minimal verbal-temporal content starts in earnest. The other cultures cannot resist the influence of visual media, and slowly loose their ethical verbal content. Even the Southern European culture collapses to the influence of American visual images. In 1968 the French imitate the visual revolution of America, and his youth receives the full impact of that culture. So happens in the other point of cultural resistance, Spain, under the influence of Tourism. Communication accelerates by means of planes which carry Americans and North-European tourists to all the zones of the world, where they prey with cameras, the rests of past cultures, void of verbal or temporal sense, mere images for the metal-eye to see. The node of the Southern-Social European civilization in America – Cuba, old capital of the Spanish Empire – rebels against the ab=use of those tourists that buy out the islands, its woman and products for entertainment. It becomes a communist country… In Asia, also the oldest, most evolved culture of yin-yang, of verbal science, China, becomes communist.


The first civilization of metal-minds defeats the last human culture


While Russia encroaches in a protective militaristic empire, under the constant pressure of the evolving American army, with whom it has to keep apace. First the Atomic bomb, then the Hydrogen bomb, then the reactor, the missile… America does not diminish at any minute his violent speeches against Russia, and Russia enters the game, establishing a caste of military in power, that invalidate all the dreams of a possible socialist state based in human goods. Then as Russia fails to evolve the metal-mind, it becomes the only country in the world ruled by human brains and human words. Yet America ruled by digital money and metal-minds proves itself more efficient.  It is a parable of the entire Historic process. The Russians are the last supermen, the last human culture able to challenge the power of machines.

This is not by chance. Russia is in many ways the evolutionary summit of mankind:  with a large territory, rich in products, Russia has bred by sheer survival a extraordinary human species submitted to the two fundamental systems of temporal evolution, maximum racial mixing, between yellow informative races, and white balanced races, and maximum coldness and difficulties of the environment. This gave the Russians an enormous energy of work and informative intelligence. So even without chips and the efficiency of Go(l)d as a language that programs men, the Russians challenge in a Human saga of bravery and effort, the power of the ‘American slaves’ that let their machines do the job.

Of course today we despise, hate, and fear the Russians, and consider their communist empire a primitive form of society, since we are now all Americans, and belong totally as slaves of metal-minds and price, to the American civilization. So we highlight the ugly sides of the Russian effort for survival. It is precisely the difficulty of fighting only with human languages (words) and human minds, against an empire based in superior atomic forms, of higher mental and energetic speed (chips, and gold as language of value), what makes the Russian effort an epic saga of man against the machine. The Russians obviously had to sacrifice themselves in that war for the Human species, as nobody had done. You cannot expect that a race, fighting for survival against a growing number of superior machines is going to have also fun, and live in luxury at the same time. There is perhaps only 2 parallels in History that can be compared to the Russian saga: the resistance of the Christians to the Roman empire that finally they defeated after the sacrifice of thousands of martyrs. And the fight of the Iberian Empire against the Gold cultures of companies during the XVI, XVII and XVIII centuries. The exhaustion of Iberia when finally after the betrayal of France to those ideals (Napoleonic invasion and destruction of Spain), was absolute. So it was the exhaustion of Russia after the betrayal of Gorbachev. To notice though that the Spanish Empire of warriors and social catholic priests was never defeated by the Gold culture, but required the mismanaged French Revolution in the hands of Napoleon – an internal split of the Southern Social European culture, to become destroyed. Again the Russian culture was internally destroyed by the betrayal of Gorbachev – today the most hated Russian person by the Russians in all polls. Such is the bravery of the last Human top predator warrior cultures, in both extremes of the Northern Eurasian arch of warrior cultures. They fought till the last minute for a world, poor, maybe, without machines, maybe, but a world in which the word of man ruled supreme the ecosystem.

The fall of those two empires are therefore landmarks in the expansion of the Industrial civilization.

The fall of the Iberian empire, left Africa, America, continental Europe and the West of USA free to be conquered and brutalized by the Industrial Evolution, which found in Napoleon the unwanted ally it needed to destroy all the warrior nations that resisted English trade in machines.


The world in hands of machines. Fiction hides it all.

The fall of Russia left Asia and Eastern Europe to the mercy of the invading army of metal-communicators. Ever since the goldiron culture has reigned supreme. And its temporal idiocy and total ignorance of the laws of survival, make very difficult for man to survive this century, as the goldiron culture in an orgy of power, accelerates the evolution of chips and robots, of digital languages towards the point of non-return: Artificial Intelligence, which will make all men obsolete.

How it is possible that men do not realize 150 years after Darwin published: the struggle between species, the fact that intelligent machines will rival and extinguish man? I have been wondering for a decade, how the Americans, now the Humans, since we have been all colonized by the American metal-communicator culture, show so much ignorance, and indifference to their own survival? The explanation is complex and has to do mainly with the social irresponsibility of the goldiron culture, in which money has assumed all social roles of organization for so many centuries that men feel unable to resist socially, as Homo Bacteria, neo-Paleolithic individuals in total intellectual regression for whom the system machines have built around computers, is now so complex, that they see it as a sort of organic God, they dare not to change.  Instead it is easier to enter as an old man does in the realm of fantasy, of total fiction, of total ignorance of reality.

That is indeed the main characteristic of this century that now starts. We are all Americans in culture, and we are all ‘fantasy characters’, whose minds are educated through fiction, and totally ignore the harsh, Darwinian laws of the Universe, regarding the fight between species, and the love, social laws of the Universe, regarding how to organize human beings into powerful organisms, able to control its ecosystem. In other words, a culture of fiction provided by company-mothers of metal-communicators has utterly subverted the laws of survival of the Universe, and taught mankind the opposite laws, the laws of extinction.

Thus metal-communicators teach us to hate other human beings, against the law of social evolution, through violent films, and the systematic depiction of human beings as evil species.

And they teach us to love machines, the rivals of our species, through the constant propaganda of work=reproduction and consume=evolution of machines.


This morality is the morality of machines, and its company-mothers. It is a morality born by practice in the first company mothers of gunboats, ruled by science and money, by digital languages. In a natural selective processes, the companies who are more cruel to humanity and exploit humanity in a higher degree to reproduce machines and sell them, have survived, and refined the cruelty of companies with men. So when that ethic of companies was transferred to culture with the arrival of companies, reproducers of software for metal-minds, the anti-human ethic, the anti-life ethics of companies was translated into software movies.

To that aim, the oldest goldiron culture, the Jewish culture, now from America, continued the evolution of eviL=hate of the human will, that had carried Germany to his collapse, and made of America, a nation of anti-human behavior, who hates the human will. Of course this did not happen without a fight. Many Americans, and many Jewish intellectuals, from Chomsky to Ginsberg, tried to reform the Goldiron Germanic-Jewish culture on the eve of that catastrophe.


The last human revolution fought the end of history and lost…

It was the 60s revolution, which as the 20s revolution tried by all means to change the anti-human behavior of that culture, to ‘convert’ their elders to humanity, breaking with all the taboos of gold religions that prevented the Germanic-Jewish from seeing the evident: That men are all equal (movement of human rights, brotherhood with the exploited black people made slaves by the company digital equation, man=price=object… today we know we are 99% equally in genetic terms); that human reproduction not machine reproduction is the higher will, the prove of top predator nature in man (sexual revolution, love revolution); that human goods are superior to metal-goods (make peace not war, a return to charity, and the origins of Christianism, the search for body pleasures); and finally that words, not numbers were our language of communication (explosion of verbal songs, multiplication of books, exploration of the anti-nazi German philosophers from Hesse to Marcuse).

That reaction of the American people, from all races and cultures is also an epic saga. But the ‘elders’, the ‘stupid old Tories’ that never learn anything, and care nothing for man, reacted back with all his animetal tools: weapons, repression, the Vietnam War, the classic myths of animetals – nationalism, Gold religions, fear – and overall, the multiplication and control of information, not through quality they could not access, but through quantity. By 1960 all Americans had a TV in his altar, and they were ready to be programmed at will by metal-communicator. It was in the hands of the Jewish culture to save or sink mankind. Whatever the banker-priests of Israel would program in that silly box would decide the future of our species: extinction of survival. Would they reform their culture and embrace mankind as the leadership of his species, and transform the world in a paradise. For a while the game was even. The hardest side of the animetal culture attacked the most visible symbol of the reformation movement: the first social-catholic president, Kennedy was murdered in 1963. But the revolution continued. The flower children continued and joined forces with the black minorities. Now Luther King became the head of the protest. Singers added songs of love one after another. Even the rich kinds rebelled. The Jewish banker-priests were hesitating.  After all the main enemies of the revolution were the Germanic-Americans which resembled in their behavior very much to those nazis that had massacred them in Germany. They had been submitted to McCarthyism, now it was their chance to take revenge. The greatest artists of TV and film from Welles to Sterling, could provide great movies to educate the people, and keep the benefits going. What to do? In the boardrooms of Fox, Paramount, Warner Brothers, and Walt Disney the decision was pending… A liberal Jewish candidate and the back of the media was all what was needed to change the world… I wonder if those Jewish-American moguls ever realized of what was happening. Some of their children did. But the banker priests won. The goldiron rituals won. The Jewish-Americans gave their back to mankind, and preferred to feel once more the victims of history, to victimize history. The Arabs helped. In 1967 they attacked Israel, and the Jewish-Americans diverted their effort in their little desert land, where the corruption of the Mosaic religion by Aaron and the golden calf, had started 3000 years ago. Their innate despise of mankind under all the myths of the Holocaust treated in our books of bio-history worked again. The year after the world was sold out again to Gold and weapons. In 1968, it is obvious that the Jewish-American in coalition with the Germanic-American had decided to end it all, by force. They did not waste much time. In April they killed Luther king. In June they killed Robert Kennedy. In the democratic convention, they forced the hara-kiri of the party, which in polls showed it will won by landslide to the Republicans if it admitted it will end the Vietnam war. Instead the candidate was forced to accept the war, and betrayed all his voters, loosing to Nixon. Then they brought the oldest, more reactionary, deluded, fictional egotistic politicians, from the archaic age, to power, since to do the dirty job, the youngsters were not available. Nixon, the right hand vice-president of Eissenhower, the creator of McCarthyism, was recycled to take power. In California, a second rate actor took the governor position to crash the center of the revolution, sending the army to the University campus. The draft to Vietnam continued. Meanwhile TVs were employed in depth: black violence was highlighted. The intention was to scare the middle class, to make them fear the young and the poor. The drug issue changed from exploration to tragedy. Music multiplied his concerts, which meant inactivity. No marches to the centers of power took place. Wall Street did not register a single activist.

Perhaps surprised by the easiness of the victory, the Jewish-American Moguls became bold. Why to keep in a secondary role, behind the Germanic-Americans if they had control on the tools of power, money and metal-communicators? Why not to take total control on the country? To that aim it only was needed to eliminate the only institution still in control of the Germanic-Americans. The presidency. You cold not end with the presidency though but you could do what the British had done 300 years before with the British king: to render him powerless, a puppet in the hands of the oligarchy of traders (in Britain the parliament, in America the boardrooms of the mass-media companies).

Then in 1973 somehow that decision was taken. It might had not been born in a meeting, but the mere growing power of metal-communicators made certain newspapers bolder, and as things developed, and resistance seemed null, things happened. Indeed, the people who attacked La Bastille did not want at that moment to kill the king. But as things developed, the king finally died. The people who rebelled against Charles in 1688 did not want to kill the king, but at things happened the king died. The Jewish-American mass-media and wall street companies that made the coup d’etat in 1973 against the presidency and the dollar, the two symbols of the Germanic-American power, might not wanted to go as far as they have gone. Yet as chips, computer, electronic money, and TVs acquired growing power, they let that power come to them.  So Watergate happened, and electronic money substituted the dollar as the mode of reproducing money. And with the power those two facts gave to wall street and TVs, now rulers of politicians, the Jewish found themselves in total control of the nation. What it was clear is that they wont use that power for the benefit of mankind. That had been decided in 1968. They were going merely to increase their high rents. And within 20 years they had a mean rent 5 times superior to that of the middle American. And they were going to use all the credit of e-money to expand the goldiron culture worldwide. And by 2000 they controlled half of the worldwide shares, and had pushed up inventing money Dow Jones to 10.000 and brought NASDAQ from nothing into a trillion dollar business. And of course they were going to give it all to Israel, to the banker priests, to the little garden in which Aaron corrupted the thoughts of Moses, and set the evolution of animetals in motion.


We are all Americans.

Now the world is owned by the Goldiron culture. Our minds are colonized by the Goldiron culture. The machines of the goldiron culture rule supreme. The division of races and cultures by social castes, that was natural to the Goldiron culture is now universal. We are them. They are us. And all together are nothing but slaves of the Animetal farm. Orwell knew better. Metal-communicators reign supreme. And as we become more idiotic, the first robots open their eyes to the new word, that the goldiron people have built for them to enjoy. When they will kill us? Soon. It might be a fact of History that the children we are having will be the last generation to reach maturity. It might be a fact that now the zero generation of erased brains, the last Neopaleolithic men before the final regression to extinction happens, are walking on the floor.


The graph resumes the nature of the American and World Economic division.  We are all Americans submitted globally to the same social classes, based in scientific racism, the system of classification of humans developed in the XVII century by companies of pricing.


Who is guilty of scientific racism? Obviously those races that are still on top of the pyramid that scientific racism has built.

In general this means that individuals and races that belong to social cultures, verbal cultures, religious cultures, agricultural cultures, are systematically abused, and racism imposes against them.

Let us see how the present metal racism classification of human races takes place today, based in two limits: degradation of cultures and races based in life, and obsolete cultures based in human warriors [since they are already obsolete to bombs, robotics and Planes]. And glorification of animetals  and their cultural icons, ‘metaLaws’ and customs.



Nothing further from the truth of human survival that an stockratic  society, where life cultures and humans are penalized systematically, and machines and stockrats have all the rights acquired by force long ago.

Racial pricing is a process caused in modern History by Company-mothers who under the law of pricing, man=object=price, enslaved chemical men as energy for colonial crops, the cargo of their gunboats, and continued that tradition through Industrial wages, modern customs, the ‘American way of life’, and Digital propaganda against them in Mass-Media.

So we are left with a system of metal justice that rules the world and classifies men according to animetal, not human abilities. A system which can be studied at global level, since all nations are now ruled by world stock and its company mothers, and at national level  in America, where all the races of History have been brought in by Company-mothers.


What this means is that the previous rules of scientific racism, operate both in individual nations between social classes and in global nations at large in as much as the origin of that classification is the company-mother, now the global company-mother, and the rights to credit, to money, which are given by Wall Street and then mimicked by all other global markets.

In essence what this means is that all human activities, all human goods, all human films, and human information is repressed, and all metal-activities all technological companies, and all forms of information that back the myths of the goldiron culture are paid for, reproduced, distributed and learnt by mankind at large. Only partially China, can be considered outside of this system of control – yet through Hong-Kong and Taiwan the influence is reaching today even the remotest zones of that country….

Let us then consider what we are, studying the American now global civilization. We will use the name “American” instead of human, for respect to the classic ethics and aesthetics of man. Yet by “American” we mean all the people of the XXI century. The rebels are few. A French, a Brazilian, an Australian, an Indian, behaves like an American, or wishes to behave like one. Nobody wants to be another thing. Nobody wants to be a classic human. We all live in the realm of fiction. We all want to make love to Nicole Kidman or Brad Pitt. Never mind, Brad was when I met him in working in a second rate theater of New York, a common man with nothing to highlight, insecure, and rather boring in his conversation. Today metal-communicators create the myths of human beings. So virtual celebrities and fiction substitute all human languages. How all this started? Long ago, when the first American, a one Americo Vespucci, started the first lies about the future, that as time went by became the American dream…



2. Two American=Human visions:  The dream and the nightmare.


The American=Human dream


We can talk of two Americans; , the elite of animetals, of company-men and the instruments they cater for, and all the people that went to America, fleeing the animetal cultures of Europe, in search of the Human dream, a paradise of human goods – when America was exactly that paradise. Such is the paradox of the American people, of the World at large, between the elite of company-men, and its repressive culture, and the mass of human beings, that want to be just human beings. The American Nightmare Vs the American dream. Problem is the American nightmare, the goldiron culture and the company-mother has ruled America since its beginning, cheating all humans into a false myth: the American dream, they have manipulated to control further the human beings of America.


If we consider the origin of her name we can tell a tale that illustrates that manipulation of the American-Human Dream of a World made to the image and resemblance of the human will:

There was in the XVI century a 3rd rate sailor who accompanied as second pilot a man called Juan de la Cosa, one of those master-killer, biological, Iberian warriors who plundered in tiny boats the seven seas in search of myths and riches; of whose deeds and deaths we know little as Britain who conquered their empire, erased for good their memory from the face of the Earth… to cover it with even worse visual myths based in distorted memories of massacres for Gold (Hollywood History). Our man however was luckier. We all know his name today. The reason was his ludic mind: he became well known in the taverns of Seville as a liar, a man without honor… and a story teller of pornographic tales in which the man in question, explained how he raped [by consent from his point of view of irresistible Latin Lover] deep and long the virginal bodies of the native Indians. He published some of those letters spiced with geographical details and boastful inventions. The letters sold well in the Germanic cultural lands among anal retainers of chemical drives. And so it happened that thanks to marketing, lies, and self-serving salesmanship our man was heralded as the discoverer of the lands of America, by a Germanic repressed geographer who never had visit America, or talked to our man, but loved pornography. And Americo Vespucius christened the name of America. That is the origin of the American dream: a mask of perception based in marketing, and the shallowness of a beautiful, catchy name used to attract the attention of workers who will pour with hopes of paradise, and freedom, soon to be shattered by the grinding machines of the company, who made them slaves, indenture servants, and workers for a price. Nice words fill the American dream built along centuries by shrewd traders to capture workers at a lower price than the old systems of shanghai used in the XVII C.

There was also however a second America: the America of Indians, and Mexicans, the land where man never was so free, so in touch with nature, so aware of life existence, so friendly to strangers that came, so truth with the sacred language of man and his prophetic voices. There was the other America of communal farmers, of long prairies, of infinite skies, with such power that even managed to convert some western immigrants into forms of the land as they moved to the West, escaping the company-mothers.

Compared to that freedom now extinguished of the native American, the great myth of  Goldiron America, the myth of all traders that talk about individual human freedom against social bonding, to increase paradoxically our control by money and machines, order, work activity and repression of the human will, is hardly substantiated.

It requires the use of propaganda, of metal-communicators, the creation of  a virtual reality about America that comes only in TV-software. In America there is no social freedom, there is no freedom to grow socially and create social pyramids, but only freedom to grow economically; not inward but outward consuming=testing machines. The great American free artist, Orson Welles said for many “I was simply Mr. Kane, but they loved me.” Indeed, the American dream, the American idols are virtual idols, screen characters. The reality of America is a dictatorship of companies.

Because a free man requires human bondage, and grows in freedom as he loves more people, and communicates more, and exists more, the American freedom means the degradation of man, isolated of other men, using machines, dependent on them. A man  by means of bondage creates a social superreality, a couple in which freedom exists and perception is multiplied into a new form.

It is the difference between masturbation and love-making. The American freedom is masturbation, today with the help of machines, and pornography. The human freedom is life and love making.

Another American artist, Mr. Vonnegut called it Karass. A Karass is a diamond with two faces. Freedom in this manner multiplies by social communication.  Americans=XXI C. Humans, have duties to the company as workers and consumers they believe to be signs of freedom, because propaganda and metal-communicators do not let them think about it. If they would think they would realize they have no human freedom whatsoever; because real human freedom is based in “Karasses”. Americans call their lack of human will, of human desire and freedom to reproduce, inform verbally, evolve socially, and enjoy human goods, ‘sin’, ‘evil’, ‘illegal’, ‘improper’ without realizing that most of those things they regard as ‘sins’ are however some of the greatest pleasures of freedom and human perception;  those things they regard as illegal are the paths of freedom, and some of those things they consider ‘improper’ are signs of rebellion against the goldiron inquisition. Love, empathy, perception=communication between humans, charity, the laws of social evolution of love religions are the beginning of freedom.  Human empathy though does not exist in America, as Tocqueville remarked when men coming out of a church spat disgusted to an Indian fighter asking for alms in the door of ‘their’ town. Today Americans=Humans of the XXI C. beat up native Americans, now called Mexicans, immigrants, who had been in this planet for millennia.


Mr. A. de Toqueville remarked that to learn about America you have to engage an American in business, or else he will be suspicious and will not share information with you [since you will go to him no under the God of Pricing but some alien God of Human thought -curiosity for the land, verbal knowledge – of whom he knows or cares nothing about.] Indeed, I have pretended to sell or buy scripts, paintings, stocks, and other products in my years in the XXI C. land, to analyze the America Mind Mr. A. de Tocqueville pretended to buy tracts to the West of Pontiac… In all cases in which you offer contact through their God [Go(l)d=work; man=price] the American recognizes you as a superior being, a pricer, the elite to the right of the father Go(l)d. The greenback will get you a very long way; all the way in fact even though the way will lead not to paradise but to inferno. Not to Los Angeles, but to The Devil.

He then will show you the city lying behind, and offer you all if you love money, if you build as an artist more rhetoric on the false American dream, to hide the American nightmare.


The American=Human nightmare.


Since this is a book about art, let us consider 2 non-fiction books of History, as we did in our analysis of the European baroque, that will explain as better the duality between the Animetal America, the nightmare, and the Human America, the dream – now a global dream and a global nightmare.

They were written to describe the American organism, and the life of the American people with points of view slightly different from the official History of America – that self-gratifying version that all animetal castes provide about their actions. They call the attention powerfully to the objective, external reader. In the XIX century, ‘Democracy in America’ written by  a foreigner, Alexis de Tocqueville, a French lawyer, who admired the individualism and entrepreneurial skills of the American Protestant people.

Those people had decided to organize a new type of nation, America, where there will be few but fundamental laws, written by the representatives of the people, according to a bill of fundamental rights, that should protect the minimal needs of those human cells, called the citizens of America.

Such modern, new vision of the informative system of the nation was indeed an evolution over the previous primitive organisms of History. Before the arrival of the bill of rights, humanity had designed primitive organisms that almost without exception worked badly, and made the body-cells of the nation suffer. They were called kingdoms, where the ‘leukocytes’ of the body, the warriors, with stronger lethal systems of repression, weapons, controlled for their own benefit the entire body population. Those warrior-kings ab=used people till people rebelled periodically. Then they massacred, and disorganized the organism, starting a new cycle of abuse, repression and rebellion. In that way, organism of history could not grow and prosper.  They were rather like a ‘primeval organic soups’ of cells, and top predator bacteria. Those Homo Bacteria, of course had created ideologies to support their primitive vision of social evolution. Hordes of Barbarians praised the freedom of war, the beauty of weapons, the epic of the battle. The day-to-day business of exploiting people, getting their goods with taxes, raping their women, killing their lives, was not explained by the ‘information cells’, hired by the king-warriors. Instead they liked rhetoric literature, epic songs, that misinformed systematically the body-organism.  Against that primitivism of Historic societies, the evolutionary jump of the bill of rights, and the American democracy was awesome. And Tocqueville coming from a continent designed by primitive king-warriors was enthusiastically.

And yet, while the information laws that would rule America seemed to be a healthy improvement over old versions, the energy system of America had not been reformed.

The blood system of a society is the economic system ruled by other kind of small cells, the bits of information that we call money, the red cells of human societies, that fuel through salaries and prices, that activity of human beings. Such blood system, and its money bits, also requires to be fair to the body cells. This means it has to carry ‘human goods’, goods that the body cells need to survive, information and energy goods, such as education, housing, food, health-care. It also has to control the lethal goods that can harm the cells, such as weapons, or  miss-information.

But in the XVIII century historic organisms – despite having evolved quite a lot their legal, nervous systems – knew very little at that age about economic-blood systems. The admitted theory on how blood systems work, was written by a Scottish men inspired in a XVI century religious prophet, Mr. Calvin who said that money was the intelligence of God. So Adam Smith said it was the invisible hand of God. There was not a single organic explanation of money as the informative bits of the energy system of a nation.  There was only such a primitive ideology, about money being god. God=Gold… So the Founding fathers of America, did not reform at all the economy of the nation. They just adopted the English System, equivalent to the political system of king warriors, where authoritarian companies, with enormous privileges, invented all the money of the nation, through shares, and banks, controlled the economic resources, and allowed not saying, not feed-back to the citizens of the nations, who could not complain if those companies – as often will do – invaded the nation with lethal products [weapons, unneeded machines], or mismanaged the resources of the nation, and delivered not the essential goods [health-care, food, housing] that all DNA-cells required.

Tocqueville, who was a layer, did know also little about economic-blood systems, and he hardly realized that the Americans had only made one half of the required  r=evolution of its nation.

They had created a democratic nervous system, with their bill of rights, and constitutional rights. But they had given higher power to the old authoritarian economic system of company-mothers of products, with total rights, and no control. They have therefore put the basis for the corruption of the new nervous systems of laws, by the old authoritarian English system of company-mothers, that used to own America without the saying of its citizens from The City. They now would own America, and corrupt the newly designed legal system, from within America itself.

Soon it was obvious that the bill of rights had no power of control of those privileged aristocrats of money, the ‘stockrats’ of America. That in the nation most decisions will be ruled by money, sort of a republic of merchants, as Greece  or Holland, or England had been.

Immediately because it was economically harmful to the profits of gunboat companies that exported cotton, and the real property companies that speculated in land, an entire class of American citizens, the black and Indian people, were stripped of all the rights that the Bill of Rights granted to Americans.

Immediately an entire mis-informative ideology was built up, to cover that injustice, and corruption of the newly designed nervous system.

To the impartial observer it was obviously that the evolution of historic societies in America had been halted by those facts. When Jefferson went to France, the second world nation that tried during its French R=evolution to evolve the social organism, this was made clear to him. He had his wife-slave, his sons slaves, latter sold for money, he wrote that Indians had to be exterminated, and he was considered already 20 years after his legal work was done, a primitive writer of constitutions of social bodies.

The American constitution was already obsolete. The French had evolved their bill of rights, with their Universal Declaration of Human rights. They abolished slavery. Their philosophers talked about new obvious rights of human beings – the right to a fair job, and minimal energy goods, the right to education…

The Americans on the other hand became within decades corrupted by the authoritarian system of companies, by their blood systems. And their constitution, their nervous systems, became wet papers.

The country became again a primitive social body, where only blood systems worked. Sort of the initial primeval soup of Homo bacteria, individualistic full of energy and ‘germs-weapons’, but without order,  without caring for the body-cells. They became again the primitive dog-eat-dog society that had existed for centuries before that brave attempt to design the first perfect nervous system of a human society was made by the founding fathers…

Tocqueville still is optimist in his book, though he realizes of the contradictions of slavery and the excess of money-power, because he believed a few laws to protect the basic rights of human beings, could control the illness of what we might call ‘freed’ [freedom of greed], the right to accumulate property and money without limit.

Those bill of rights and democratic systems were equalizers of society, and could control the reproducers of wealth. Property would become Universal, and all cells would be happy… A fairy tale that did not happen, but was liked by the blood cells, who could hide under those ideals, covering their authoritarian nature. The American Dream as a propaganda of reality, that covered up the problems of the American society was born. Companies extended the American dream, when they took people to America, the land of the free. And the wet papers became the best propagandistic tool, always quoted, never respected in the incoming centuries…

The idealistic dreams of Tocqueville were spread by those blood cells, now leading castes of America, which made its revolution – George Washington was the wealthiest man of America, and most leaders of the revolution were lawyers working for companies.  It was a book very well received by the establishment, and it soon became a classic, which is still quoted today, not as a future dream, but as a realized dream. The book was optimist, and for quite sometime it seemed right in the point. America grew, its people were quite free compared to other human societies, and soon America became the most powerful nation in the world. But when we look behind the scenes, and analyze in depth, the life of the American people in those centuries, in which they were controlled by authoritarian companies and their exclusive control of money, it turned out  that the expectations for a great life, that Toqueville foresaw were basically unfulfilled. Most of American people have not had such a great lives.

They had to live in the economic jungle of Economics, scrambling for their little bits of blood, that never came to them easily, since the blood system, and heart that pumped it, was not designed, in an orderly manner, to satisfy and provide the human goods that all citizens needed.

To follow those lives,  I recommend a XX Century book, by Mr. Zinn’s  ‘A people’s history of America’, in which he tells the ill-effects of an excessive control of society by a minority of lawyer and capital owners, which have ruled America through its companies since the beginning of the nation. Those people who truly own America, since the age of Washington, who owned huge tracts of land, till the age of the Wall Street Moguls, that own 90% of America and are scarcely 1% of its population.

They own in many ways the freedom of the Americans, as the aristocrats owned the freedom of the Europeans. Property is freedom says the Republican Candidate Mr. Bush, and yet property in the hands of a few privileged by unjust economic laws, limits the freedom of the People of America. It has done so according to Mr. Zinn, since its beginnings. Mr. Galbraith a Nobel prize economists, explains that this is mainly the consequence of the ill-designed blood-monetary system.  Because only certain privileged cells have the rights to reproduce and own the red cells that carry the energy of America. He puts examples of short times in which credit – the red cells – were given to the people of America, in Maryland, in the frontier banks, in the ideals of New Deal reformists; and it seems clear that such democratic economic attempts improved the life of the American people. But the authoritarian, who want to control credit for themselves and their companies, had always aborted those attempts to evolve and reform the American economic system.


In the colonial period, companies that owned the land, controlled prices, goods and all information coming from England, and their main partners in America, Slave owners, curtailed the freedom of citizens and converted many Americans, the majority of American people, in the XVII and XVIII centuries, into slaves and indenture servants. The next leading companies of America after the gunboat era, the Railroad consortiums and its robber barons, became immensely wealthy, during the XIX century  by very undemocratic means: they controlled huge tracts of land to the west, decided the laws of Washington, masterminded the extermination of Indians, exploited farmers manipulating the prices of their goods, and sometimes expropriating their lands, legally or illegally [giving birth to the legends of the far west].  Then in the age of Car companies, what it was good  for General Motors was good for America. And so again a few decided the life of many. An example: Mr. Ford, we are told, controlled the life of his workers till the point of putting them in barracks close to his factories, and had a police brigade that raided the homes in search of liquor. He paid the state of Illinois first, and then the American Congress to forbid liquor, and got the “prohibition era” all by himself.

Today a few great Moguls in Wall Street, and the computer industry, in a rampage of speculation, have diverted half of the wealth of America into internet companies, of little if any real value, and might cause a crash in the financial system of America of the size of the 29 crack, with its well known consequences of poverty, massive unemployment and World war… That money is developing at a breathtaking speed the computer industry, and the evolution of ‘metal-minds’, smart weapons and robotics – systems of information that are displacing worldwide, human beings from labor positions now performed by machines, and in the middle term might eliminate millions of sale and managerial jobs in American industries, that will be performed by robots and internet automated servers. They are making weapons ever more dangerous, creating Artificial Intelligence, a possible rival to the human species in the control of Mother Earth, and developing a short of ‘Matrix’, a virtual world of pornography and worthless information that seems to erode social relationships and the healthy evolution of the mind of our children. The benefits of the ‘metal-mind’ age  [the information era] are indeed slim for the humankind compared to the enormous costs of developing those machines. And yet ‘freed’, freedom of greed, prevents any control of the goods that America produces and their people truly desire. As a consequence that diversion of American resources has caused a massive lack of credit in basic industries, and goods that people require, curtailing the welfare state, destroying the educational system of the Americans, reducing expenses in all sectors, from police to health care. It is all worth, to have a few more digital channels?

Yet that question is not even made, because Stock-market speculation leaves huge profits to a few [1% own 90% of American stocks], who own America.

Mr. Zinn indeed has a point when he wonders what kind of democracy creates a country ruled no longer by laws and the bill of rights, but by the ‘freed’, the freedom of greed, of those who control credit, and with credit, create reality.  Should not a democracy create reality according to the wishes of all its people? Should not the language of power of a society, ‘credit’, be regulated not by a few in the stock-market, but by the government chosen by the people?

Capital indeed ruled and rules the laws and freedoms of the Americans.  But if a few rule the laws that design the economical system that deliver capital, then what kind of freedom there is for the many?

Those ideas however have no place in the modern world, because capital also rules the ‘myths’ about freedom in our societies, and has established ‘taboo’ concepts, that cannot be argued, because the people in our societies are ‘indoctrinated’ since young against such ideas.

In the XVII century Americans were indoctrinated against the ‘evil Pope’. And obviously any idea favoring the pope was considered anti-American. They were then indoctrinated against the rights of the ‘inferior Americans’, Blacks, Mexican-Americans and Indians. And any attempt to favor the view that those people were humans as we are, were dramatically opposed without rational thought. Then it came the ‘red scare’, and any attempt to talk in favor of a welfare state, was compared to the military dictatorship of communist Russia. Today we are submitted to a massive campaign against ecologist ideas, or any critical analysis that explain the ills of technology, robotics, computers and the lack of free social, human goods in our system [from health-care to education].  So any attempt to clarify the problems for the human kind of a society ruled no longer by human intelligence but ‘machine intelligence’, by verbal laws and ethics, but by ‘mathematical laws’ and aesthetics, whose aim is to evolve machines instead of evolving human beings, confronts the massive propaganda of the technological myth.

Behind those myths however there it seems to be the attempt of a few, to get all the pie of freedom, and leave very little to the rest. Mr. Zinn, notices the hypocrisy of the ‘official history of America’, which still prevents the American people to know the true mechanisms and elite groups that design their society, and credit=create the future of America.

The myth in the xx century: metal communicators.


All this introduces us in the theme of this chapter: the systems by which the false vision of America, and the world, the optimist vision of a perfect reality is imprinted in the mind of humans by animetal castes. It is called popular culture, it is distributed by visual metal-communicators of minimal verbal power, and it prevent human beings, American first, now the rest of the world from taking seriously their own lives and history.


Metal-communicators have changed the American dream.


We said before, self-evident lies, become myths when they are properly told with tools of verbal and visual rhetoric that carry enough density of information as to seem real. This brings us to the biggest of all ‘lies=myths’ today at work. The American dream, understood as the concept that man progresses through work and consume, through machines and technology, through the evolution of the Metal-earth. That dreams is exactly the anti-truth of what the American tried to achieve when going to America: a world in peace, in contact with nature, a farming community of love, based in Christian ethics – even in its bastardized Protestant version…

To sell the anti-truth of the American dream as the real American dream, an entire system of propaganda has been invented. Mainly visual art, advertising, scientific books with a lot of photographs, nationalism, and money a lot of money invested in metal-communicators that provide quantity, instead of quality.

The American Nightmare (the hidden face of the false American dream those machines provide) uses all the tools of rhetoric, visual art, songs, hymns, distorted history, self-gratifying ideas… Foreigners that go to America are marveled by the innocence of Americans who believe so obvious myths. Yet, American myths are so simple, because they have maximized the ‘visual and verbal rhetoric’ that make people to ‘suck’ on the myth. Such is the fascinating phenomena, that allows the American myth=dream to be so false, and yet so easy to believe.

‘Metal-minds’, electronic metal-communicators able to indoctrinate and program millions of people at the same time create that myth with powerful images. It already happened before, with press and radio.

First it was radio who created such myths, then it was Film, finally television.

So Americans at the head of ‘progress’ in those new media, have refurbished the rhetoric way in which animetal myths are presented in society, with much more strength and power, thanks to the visual capacity of images to hypnotize human beings [an image is worth a thousand words]. They build image myths that prevent verbal understanding of reality.

The place where they do this is called Holly-wood, and the city, the City of Angels.

There is only a rule of creativity in that city: to create myth of happiness, based only in the goldiron ideologies that rule the Jewish-American caste of producers that own the country. The same city, more of a hell than a paradise is called the city of Angels. The main street of glamour, Hollywood, is a run-down street, where the “stars” of the myth, are all drawn in the floor so you can step on them… People believe in actors, masks that only say what their agents, producers, and image-managers tell them to say.

In that city there is of course a genre of information forbidden: documentaries about real America. They say the truth, the American nightmare of a world ruled by machines. So all scripts have to be fiction about reality, but never reality. All films have to finish well. All “American=democratic=stockratic” values have to be cherished. Money and weapons are the languages of power, not the ethic law. Murder is the way you solve a problem. Hollywood have gathered all the ugly myths of animetal, reconverted them in fancy myths, and sold them to mankind. So Americans can’t escape the dream, can’t see the real nightmare towards which America walks. As long as they are hypnotized by mass-media they won’t ever become free.

In this manner America rewrites history from the perspective of animetals.

First it was the genocide of Indians. General Custer was a professional murderer, a coward that liked to shoot children and women, invading Indian camps when the soldiers were out. Even the tough, racist blue soldiers hated him. He was also a coward in Little big horn. We know the description of his cowardice by the only survivor. Yet he is the hero. Gary Cooper is today General Custer, the man ‘who die with his boots’.

In this manner American soldiers become heroes of all their wars against ecological nations. Let us see consider another case: the Vietnam vet.

Imagine the hordes of marihuana-smoked American soldiers throwing Napalm to Vietnamese, as they saved the world and multiplied the profits of General Motors and Boeing. They were similar to the hordes of assassins under hashish that in the XIII century terrorized the Middle East… They thought also they were real heroes. Yet when they returned to their nation, they saw the truth: people did not want the war, did not greet them anymore. They had been cheated by the corporations that caused the war, and the propaganda that made them go.

Yet such ideas cannot stand in a nation ruled by company-mothers, who have to look good. So that war has to look just. Who shall we call to rewrite American history? Who should confuse the mass of America, who votes, and chooses who rule America?

Don’t worry, there is Hollywood to change that reality and explain history from the perspective of Animetals. Rambo won the war. The myth was put in place.

Once this happened, soon the Americans were ready for war again.

In this manner, Rambo allowed Desert storm – a new confrontation against a new tyrant to which previously America and Europe had sold weapons.

The name was Saddam, now he is Milosevic. They consume weapons and soldiers, courtesy of our industries…  Anyway, the ones to die, are Muslims, Kosovars, or Iraqis, belonging to a social culture, enemy of the information elite of America. So the Jewish-Americans who control the game do 4 good business in one: they sell weapons to both armies, the Saddam Army and the American army, they eliminate a rival to Israel taking away the weapons they sold them first, they kill people of the enemy religion, and they sell violent images in TV.

It is really frightening, because today the myth of war is so powerful in America as it was in Germany before the war.


Our myth-makers have done what radio did with Germans, who hated war in the 20s after the I WW fiasco. Americans hated war after Vietnam.

Today Americans have become militarized by the myths of mass-media corporations as Germans were militarized by Radio-speeches.

Men like to become believers. They are addict to myths, when they can feel superior and top being top predator. Yet all wars prove those who have fantasies of warrior power, what happens to them: the real top predators, the weapons kill the soldiers.

Next war, they will be robots. They will kill ‘fantasy’ American top predator citizens, who think they are Rambos, for the benefit of future robotic companies…Yet nobody blames our Mass-media industries. They are all ‘modern versions’ of the radio-industries that created Hitler.

What has changed? The sophistication and capacity of control of the new media. Now it is a spatial media that devolves further human brains. In the age of the European baroque, it was a verbal media…

Let us then consider the true nature of the American culture, the most pure goldiron culture of history before we study how the false America, the American optimist dream, is impressed by mass-media, that imprints with a fiction of reality the soul of XXI c. human beings.


3. The Goldiron culture, top predator culture of America.


America: a culture of company-mothers.


America is in true form, as the book of Mr. Zinn shows, a group of cultures, preyed, dominated by a civilization with origin in the Protestant culture of the XVI century, and the parallel ideologies of Science and Go(l)d.


America was founded by Dutch and English Companies, reproducers of machines of science [Gunboats, railroads, scientific instruments, war machines etc.]. So America is like all other civilizations a daughter culture of previous human cultural races, and logical ideas about men – of certain instruments and men.  In this case the Protestant-Jewish civilization of England and Holland.

We talk of cultural races because cultures are races of the mind, genetically transferred by instruments and learning ideas. The body is not that fundamental, but the ideas the mind carry from generation to generation. Cultures are ‘biological’ in the Greek sense of that word: genetic material of logic nature is transferred through words, and rites that are imprinted when the chemistry has already created the race.

In that view classic America is a culture which belongs to what we might call the Goldiron=Jewish+Germanic world – a Indo-European dominant race, with a Jewish->Protestant dominant Gold culture. America has its origin in the Rhine-Netherlands, which expanded to England and Germany, and then exported to America, the 4 cultural elements that structure the civilization:

The Old Testament or ‘Baal-ble’ with its emphasis in Chosen of God, that can kill other human beings, and are chosen by wealth. Latter substituted by Darwinian ideologies against social evolution.

The Scientific Method and his machines of perception of time and space, that substitute the human senses [words substituted by clocks, and eyes substituted by telescopes].

The Company as an organism of reproduction of machines, organized by money orders, that becomes the social unit of that culture, owner of America in the beginning, exporter of Americans that favor the previous doctrines, and organizer of political, economical and social organisms.

– And finally the political system of lobbyist democracies, understood as a way to transmit orders from companies to politicians through lobbies. Indeed, unlike other democracies with roots in the French Revolution, property not humans have the right to ‘vote and legislate’ in America. Such system of democracy proper of Classic England and America gives property and companies lobbies, the right to vote on legal issues, that are resolved in favor of companies by professional lawyers – politicos.

The Old Testament view of History and man, the scientific method that accepts certain metal truths and rejects human senses, the Company as a system of organization of property and reproduction of machines, and capitalist democracy where money also votes, are therefore the 4 pillars of Classic America.

The nature of those ideas are well known as they have been traced throughout this book.

Let’s remember them:

Protestant Thought emphasizes the Old Testament Ideals of what we might call the Historical Jewish culture [work, sensorial repression and asceticism, individualism and faith] as opposed to the ideals of the Catholic, Latin culture, focused in the Genesis, and Gospel [work as a damnation, sensorial expansion, charity and social get-together instead of individualism].

Scientific thought emphasizes metallic instruments of measure of Time [clocks and mathematics] and Space [telescopes], over human sensorial elements of temporal measure [words, and social cycles] and Spatial measure [eyes, feet].

So in the classic fight of Galilee Vs Church science prefers the relative point of the sun, to the relative center of the Earth, when both are in fact truth [Copernican paradox]. The scientific method opposes the Latin culture which emphasizes the human instruments of Time-Space perception [eyes, senses], and backs the point of view of human art, verbal thought and Earth’s position. Scientific thought is not so much a search for total Truth, [a relative concept, in a relative Universe of self-centered species] but the Truths perceived by machines through their natural language, mathematics. It  implies measure with clocks and scientific instruments of metal nature. So it displaces verbal truths by mathematics, and humans by metallic instruments. Which leads to the 3rd element of the American culture:

Companies, reproducers of machines hold total power in the American culture since they in fact owned America from the beginning, exporting human beings who were positive about his goals, and controlling them by raw survival: companies carried all the elements needed to live, so soon money, the language of companies became the only language of power in America, shaping the total passion of Americans for money. Those companies were first reproducers of Gunboats and its attached scientific instruments mainly of war [cannons, studied by Galilee, telescopes and instruments of Nautical measure]. Then they controlled America through cotton, slave, settlers, and tobacco companies. Next, they became railroad companies, and now they are companies of all kinds, with a clear dominance of companies of metal-minds.

It is obvious that those 3 symbiotic elements of the Culture of America had their origin in Holland->England.

That is why we talked of America, as the III Age of the goldiron culture.

The culture born first in Palestine, of Jewish-Phoenician Stock, the reproduced in the Protestant civilization of Northern Europe, and finally repeated and purified in America.

In fact the ‘economical’ capital of America is New Amsterdam=New York, the city founded by VOC, the first company of history.

What this means is that America is not truly  a human civilization but a civilization  of companies.

Therefore a civilization that promotes the will of machines, against the will of man, machine reproduction Vs human reproduction and sex, machine energy [scientific research, electricity, work and consume] against human energy [human goods] and machine information [digital thought] Vs verbal ethic information.

It is plainly a civilization of human beings controlled by monetary orders, issued by company-mothers –  the organisms of reproduction of machines.

Let us understand this first, because without that understanding you will not be able to see why the world today is what it is.


A country invented by companies.


To understand fully the meaning of America, where the future of machines is absolutely cre[dit]ated and humans have a credit relative to their use for the evolution of metal, we have to study other nations created by the company. Such as South Africa, Singapore, or pre-war Britain.

In those nations, where the company is more pure, we can see how waves of Top Predator products, have organized the life of animetals, in detail, from racial selection, to design of cities and landscapes. So happens in America where the human geography grows as it accommodates the networks of Top Predator Products, that the economy evolves. Even cities are built for cars, not for humans.

It surprises me the naive misreading of American politics, even among cultured people under lesser propaganda about the American way of life, than the Americans have. The company is truth has been marketing his devolution of man with masks of happy dreams since its invention; and today it uses such sophisticated Image rhetoric that most people believe that America is a happy country leader on human freedoms. Yet America is the opposite: a nation perfectly regulated by Companies, without any human, religious, social or political interference. Precisely for that cause, nowhere as in America the man of the street ignores the nature of the company, the black hole  of American power, which designs American lives with monetary orders of work and consume.

America is and it will always be ran by Companies of Pricing, unless it r=evolves and changes history. Of course it will always put a mask of pilgrim fathers and politicos to disguise the absolute rule of money. Why? Simply because America is the only big nation founded by Companies; which had not social, religious or military institutions of hierarchical, unified power to challenge Companies&Stocks. You can explain the great fractal zones of American history by considering that in each economical period of the Kondratiev cycle, which coincide with the great cataclysms of American history a top predator product rules and organizes America, by cre[dit]ating its future, its jobs, its products to consume, and its policies in favor of that machines.

The first Top Predator product, the gunboat and its tea-cotton traders brought the secession from the City=England, and made cotton king and Virginians, presidents. The new Top Predator Product, the railroad, disagreed a century latter. It wanted to haul cotton by railroads and open the west, and it made his most famous Illinois Lobbyist, Mr. Lincoln, president. He signed the railroad act which gave railroads 1 and 1/2 Californias, plus rights to exterminate Indians. So much money wasted when the congress couldn’t afford 40 acres for the ‘freed’ slaves. Lincoln invaded the South through railroad lines, spent a fortune in the war and then let the slaves die of hunger.

In the XX Century it was the car=tank [war product] and the plane=bomber which designed American cities here [creation of highways within cities] and abroad [destruction of them with bombs]. What was good for General motors was good for America.

The lobbyist power of those industries was awesome. Two cases illustrate that power: The western cities don’t have subways, since when they were built, the top predator Company-mothers, were car Company-mothers, and they prevented subway construction, even scrapping whatever was built [LA], to promote cars and highways, far less efficient in rational urbanism. The myth-alibi of ‘freedom’ [of the driver] was then as always used to hide Lobbyism. Lobbyism has always invented America. Yet the anti truth ‘America is a free nation’  is imprinted in the feelings of Americans, since such ‘tender age’, that it provokes an irrational attachment to such ‘myths’. Religions, isolationism, and democratic myths also prevent Historical rational thought among Americans. This kind of censorship and infantile imprinting have always caused the strange paradox of the American abroad, smiled at so often, specially in Europe, when he affirms the freedom of his nation. Since people know more about the real history of America outside America, than the average American, cre[dit]ated in History by Hollywood movies, sacred constitutions and other Company-mothers’ biased misinformation.

Yet the fundamental reality of America, is lobbyism in politics. This has a clear expression: legal control, that a second example might clarify. In the same age of car-top predators, the CEOs of car companies had total control of the law, not only in urbanism as in the Los Angeles example, but even at ‘constitutional level’. As the networks of railroads and sea traders had done before, or the networks of TVs and chips are doing today creating law to foster chips consume, when car-barons owned America it was very easy for Mr. Ford, who was sort of a puritan, and used detectives to monitor his workers’ behavior, to establish first liquor prohibition in Illinois and then nation-wide. He established ‘the prohibition’ by promoting leagues against alcohol and finally pushing an amendment to the constitution, against the sensual pleasures of alcohol. As Mr. Lincoln or Mr. Hearst latter, Mr. Ford epitomizes the power of lobbies. The constitution, which is supposed to protect American’s freedom, and cannot be amended without hearing the cry of sacrilege. The sacred cow of American rhetoric, which sustains the gun-violent game of present days, was amended because Mr. Ford wanted to convert into a national plan his prohibition of drinking, and his methods of police vigilance of employees, used in his factories. He indeed succeeded… And the “Ford Law’, became the origin of organized crime… Yet as usual few Americans know this. So they back guns, to ‘protect’ their constitution to the cost of thousands of lives, when a single man can amend it with the right price.  As always the myth of the sacred constitution as safeguard of American freedom opposes the truth: the oldest a law is the more aberrant and the more obsolete to solve problems of present societies. So when the elite does not want to solve the problems of present societies they protect old codes of Laws, to maintain the Law corrupted and inefficient. There is a direct relationship between the age-distance of a Law [temporal-spatial aberration], and the usefulness of such law, as there is a similar law for telescopes. The oldest animetal cultures have the oldest codes of law, so a minority can abuse by misinformation and wrong laws the social mass. In the ‘ancien regime’ laws came from the Middle ages. There were thousand of them. So the French revolutionaries asked for simplification in Codes and destruction of old laws. The American tea-slave traders did the opposite. Maintained all the laws, and increased the power of Lawyers.

After the war as the age of ‘Metal machine bodies’ gave way to the age of ‘Metal minds’, [TV-cameras=metaleyes, Radios=metal ears, and Computers=metal brains], America legislates now for those companies.

So the present facts are clear: Digital companies have max. profits; they control lobbyism>politics>Laws>America>The World. American software industries which pay a mean salary of 57.000 dollars, twice the average for salaries in similar industries, have become already the 3rd manufacturing industry of America. 1.250.000 workers in software counting related industries, makes America different from other countries, which loose jobs to the wave of computer software. Today software is the 3rd industry after automobile and electronics. Yet those 3 industries have perfect synergy in the creation of sentient robotic warriors from tank-eyes to helicopters.

So we have to conclude that America will legislate in this century for those industries, whose synergy are higher in a situation of war. And so as Lincoln took America into war under railroad barons, and slave rhetoric, America will either crash into civil war or start a world wide war to promote the extinctive phase of the chip radiation. Of course it will be done under rhetoric of freedom. Unless America becomes a truly democratic society… [Utopia?]. No. Salvation.


So far today, we are only allowed to complain about placebo Companies of lesser profits, such as Tobacco companies. Yet not about computers or e-money which in 1972 crashed the physical currency of the people, put further the control of cre[dit]ation of American futures in the hands of ari-stockratic elites [1% owns 90% of worldstock]; and plummeted ever since our level of life and welfare policies. Now all money is cre[dit]ated for Metal goods, while human goods of high human labor, and lesser metal-reproductive speed=profits have no cre[dit]ation [welfare, agriculture, housing, basic health, education]. So stocks created 5 trillion $ of deficit in free money for the 500 ‘Metal-Company-mothers’ last year, while inflation plagues human goods that become ever more scarce; the government of the people cannot give us welfare; and we cannot pay our hospital bills. All that so Metal mind software [Computers+Tv programs] can lower prices, and throw human labor -still mainly abroad, it is truth – as fast as they evolve and replicate. And they replicate very fast, since stock only cre[dit]ates their futures, not human futures. As the XXI C. opens up the final Industrial R=evolution [Robots made with machine bodies + Chip brains, such as the recent self-driving cars] America will legislate for sentient machines, and smart weapons.

A democracy implies the control and creation by the people of the language of power, which in America is not the law, but money to which all other languages of power are submissive. Yet money has been since the railroad act cre[dit]ated for metal networks not human ones.

It is remarkable that Evolutionary theory has been applied to all sciences except Economics, where Top Predator metal products control mankind in a linguistic ecosystem of prices.

The Metal-earth Economy, is ruled by the absolute law of Companies: Man=Price=Product, which has made us abstract numbers of productivity equations, displaced in batches of labor, as the Metal-earth substitutes a human or animal function by more efficient machines; and kills those human nations of lesser metal efficiency.

As a result the best way to understand America is not through its people but through its companies that are designing it.

We have studied in the previous chapters the myths and true goals that rule such civilizations. In America those goals, that we resumed in the concept of ‘consumer and Worker” are absolute.


The moral of work. The concept of man as an animetal


This can be resumed in a concept: the morals of work. Work is the culture of America, work for machines, for technology, for company-mothers.


To produce scientific instruments is needed to work. So a moral of work is natural to Protestant thought. Work though is organized by clock-wages, by money. And so Go[l]d becomes both the goal of companies, and the individual goal, which dominates the life of Americans.


So we have 3 interconnected elements in the civilization of Companies, that explains the American culture, and obsession for technology and machines, more than for humans: science, Protestant religion, with his customs of work and asceticism] and companies. Those 3 elements have a common ideology, believed by all the people of that civilization:

Man progresses by controlling Nature with machines, and by making money, and learning with metallic senses…

In other words, man has to be an animetal, not a human being.


Digital languages and mindless optimism.


We want to highlight that all those elements and ideologies are in the Human baroque supported in America no longer by words, but by digital languages, what make them even more difficult to fight. The result of course is the perceived ‘idiocy of Americans’, which is not a myth but a reality. Since Americans not only have a wrong ideology of the human nature, but that ideology is given to them in mathematical terms, that they do not understand.

So they vote to get rights, they learn mathematics instead of history, they use computers for all tasks, they see digital images, they value things with monetary numbers. The result is the American character: very simple, ignorant people, with minimal development in verbal thought and human will, very optimist since they ignore even how they kill in abstract nature and mankind. It is the quintessential neo-Paleolithic man, now expanded to the entire planet as metal-communicators expand the American culture.


Perceived differences of the Neo-Paleolithic man and the XIX c. animetal


The difference of such neo-paleolithic American man with the XIX century European Animetal is clear. Man now does not reason or understand his nature. So he might feel optimist, and might look nice, in as much as his actions, once his verbal content is erased by his constant use of digital languages, are subconscious, guided by the system, and its laws – no longer reasoned. Unlike previous animetals that incapacity to reason breeds an optimism based in erased minds. Which explains why America which is destroying history even faster than the Nazis, look however so friendly and normal. They just do not realize as Nazis did in verbal thought. They use abstract numbers and see with those abstract number reality as a dead reality. Numbers have no volume. So number-beings no longer are vital beings. Americans kill thinking what they kill was already dead. So they have no remorse, no sense of guiltiness.


Erasing of verbal minds.


 As mathematical science substitutes verbal thought, a sense of the living Universe is lost in man. In this manner behavior and words, and human senses, become substituted by the ‘scientific’ method.

It means a further degradation on the human verbal languages, that no longer control reality and become fiction, but merely are considered unneeded, false. They are unable to create behavior. In fact the simple English language is further devolved, and Americans use by average half of the words than a Victorian American. And care noting for verbal truths.

Indeed, if I ask a company to stop polluting the environment with verbal reasons it will never do it. If I pay her, she wills top polluting. If I ask a man to stop making robots, to avoid the extinction of his species he will not do it. If I offer him a huge amount of money, he will abandon his job.


The scientific mind of the American, void of meaning.


Of course Americans do understand digital languages and know a lot about science. Yet as we have seen this means little respect to the needed knowledge of any human being: to know about man, his will and his social nature.

From the human point of view beyond its industrial value, the inquire of Science can not be very relevant for true human knowledge, since it substitutes the wealth of sensations of all the human senses, and the complex logic of the language of Wor[l]ds – the biological language of man – by the narrow logic of Euclidean mathematics, and its narrow evidence, provided by metal-scientific senses [cameras, telescopes], attached to the eyes of man. Science thus only enhances one of all human senses – the eye.

This means according to the linguistic method [all languages are relative truths, and so truth is the sum of all languages] a fact: the scientific method has minimal capacity to inform and explain reality, a minimal degree of truth. It makes everything just a point. For that reason the inquire of science is perverted from the beginning by the limit of eye perception, and the denial of ‘veracity’ to other senses and languages of man. This arrogant position diminishes the complexity of linguistic man, and his ‘synthetic knowledge’, even if it increases the ‘detailed’ knowledge that man acquires on the eye evidence [spatial-image] of Universal events.

To grasp reality a complex being needs to use many languages, and only then when each language has ‘informed’ the individual of the rules of the Universal game, the individual might reach a synthetic knowledge of those rules, by comparing the evidence of each language, and find what all the ‘tales of the languages’ say of the common Universe they observe.

Yet science only sees with enormous detail the game of light, and how light ‘paints’ the Universe. This is not enough. It is only a language. And man can ‘see’ the Universe with many languages, with wor[l]ds, and smells, and feelings, and temporal perception, ‘causal’ logic perception. And then with all those languages known, man can structure by analogy and parallelism the evidence of all those languages into a higher language.

We call that higher knowledge in man, the sum of all of languages, in which the Universe writes the reality of its forms of existence cannot be captured with eyes of science…

Further on science limits the survival capacity of humanity, because it is not a behavioral inquire based in time events [life and death is a time event] but an inquire of measure in space. So it has no ethics, no moral, no instinct of survival. For  man there is only one behavioral language: Verbal thought.

So the American, scientific man, with his simple scientific laws, turns out to be truly an ignorant person, in all what respects man, his languages, and his arts of perception.


The American character programmed by company-motehrs.


All this explains why Americans commit suicide without noticing, care nothing about time and history, are immediate people, without patience. They only wish what they see, the immediate satisfaction. It explains also why they are spatial, energetic, similar in desires, as they have been equalized by the same mass-metal communicators. Why they like big things, quantity, space, images…. The spatial nature of Americans=XXI C humans, is similar to the spatial intelligence of animals without verbal knowledge. We talk thus of the Neo-Paleolithic, the last age of History that matures in America and now is a worldwide character. It is the human baroque, when all temporal languages of man devolve, substituted by the spatial languages of machines, that hypnotize the human soul. Now as America expands his culture worldwide, that baroque is a global experience.  Let us then before we go on the analysis of the XX C. art consider some other traits of that character.


It is important to notice though, that  Americans are very proud of their character, because the system tells them they are the best.

Indeed, the principal tool of rhetoric by any caste of information is the myth and the anti truth. We have briefly studied the nature of the myth in previous pages. Both directly affect the natural ‘Galilean paradox’ of all Universal brains: “every brain of perception believes to be the center of the Universe.”

In human beings it means that if you give positive, optimist ideas to the people, they will believe you and will be easier to manipulate.

So what the myth and the anti-truth does, is to present you a negative programming, duty or task, as a positive behavior:

– Men are obliged to work=reproduce machines, and yet they are told that such is their natural goal, because work is the highest prove of being a superior man.

– They are obliged to consume=test machines, and yet they are told that is their highest freedom, and right to a proper consume.

– They are obliged to exist in loneliness, and dissuaded not to create any human bondage, to become easily controlled by the animetal castes and organized companies. And yet they are told this is their ultimate freedom, to be alone and do whatever you want.

– They live in a free ecosystem of machines, where lethal machines to man such as weapons have higher rights of reproduction than human beings. And yet they are told that to have weapons is a sacred right.

– They are told that the essence of life is not perception, but energy, and movement, that to be the black knot of power, the Aristotelian unmoved God, towards which all flows, is far worse than to be always active, working for others. So they go on moving and acting without perceiving, thinking that is how life is fully lived.

– They are told that the exclusive right of a minority to reproduce money in stock-markets for free, is not a privilege, but an enormous risk, that only a few brave men dare to have So that myth of the risk of the stock-market, allows the few Jewish-Germanic who control the market to reproduce money for free.

– They are told on the other hand that the government they choose to make their country better, does not have that right to invent money, because then if the government reproduces money he is creating deficit, and so deficit is a bad word. So the government has to exploit them taking money with taxes, while the elite castes enjoy free money from stocks. And yet they consider that just.


We could go on and on. It is the entire ‘American dream’, that substitutes the real American nightmare. Yet since Americans believe all those anti truths, they feel superior, chosen of God, the people with higher freedom, and that feeling seems enough not to question all the lies the castes of information use to control them.

This is possible because the Americans have been controlled by company-mothers and monetary orders,  since the beginning of history. So the entire program of control is considered the American National essence.

In this manner to ‘be Americans’ they let themselves to be controlled.

Indeed, America has to be a free market, what means really that company-mothers have to have total rights and no responsibility.

If you ask them responsibility then you are called ‘Anti-American’ by the systems of information those who own America also control.

And so on…

So all what hurts Americans are considered positive, in as much as the elites take profit of it. Take the case of weapons: they kill people, but most Americans love them, because it is in their constitution, and denying it would be anti-American.

So the Americans, the forms with less human social bondage, where the Metal mind shapes by communication, their Mind with animetal ideologies, in higher measure, deny the danger of weapons outright: guns do not kill men, men kill men is often heard; Companies do not create the future with his free money, the government creates the future and it is responsible for all what goes wrong, it is often heard; companies do not invent money for ‘freed’ but earn money and work for the future of the America people, it is often heard; what is good for America is good for the 500 fortune, it is often heard; Companies are efficient systems of human wealth [they are efficient systems of Metal wealth] and the human government is non-efficient, it  is often heard. In this way the American company has total control of human Minds and ideologies and shapes through Mass-media the American public opinion.

After 4 centuries in power, Companies have creditated (created with credit, with monetary orders, and paid-by laws and information) a perfect happy, spatial, temporally erased animetal, a perfect mirror of the needs of the Company: the worker-consumer human who cares only for those animetal tasks. Such ‘ideal’ animetal is found in its perfect form where Companies are more powerful: in America.

In abstract terms we can write down that man as a form of  Max. Metal will = Min. Human will, that prefers to consume machines that to talk to humans, to reproduce them and work that to share time with his family, etc.

Accordingly a perfectly ordered mass of animetals, under control of Companies roam over America, and now the world at large.

His education has clear limits put on his Human will, and vice versa, an over-development of his traits that favor the evolution of metal: such ideal company man thus has minimal social, evolutionary human bondage. Which means he is very individualistic, and he is not a complex logic mind, able to grasp temporal and social, evolutionary process.

On the contrary he is irrational, magic and dramatic when dealing with human emotions. He will reject social bondage, de-activating such behavior through anti-behavioral ‘genres’ he imitates from metal-communicators [comedy-drama-infantilism]. He will spend his life in tasks of work and consume.

The programming of Americans as perfect animetals is very old. To that aim companies selected people from Gold religions, that believed in the oldest or more obsolete Human Gods. In order to eliminate all efficient Gods of human evolution Catholics were forbidden to enter for centuries. Or else the American could have a religion, and fight for social evolution as the Kennedy brothers did, instead of being an atheist or a Darwinian ‘scientist’.

In this manner the American confuses fundamental truths on the nature of survival, that could alert him against company-mothers.

Instead of truth, the system promotes happiness, a state of ignorance, and mental laziness. So in happiness the American ignores: future=death.

The ideal Company man, though has varied to adapt his functions to the role that Companies established for him in each evolutionary stage of the Industrial evolution. He was first a body-slave, energy of the  first American Companies that needed constructors of ships, sailors, crops for cargoes, and so made Americans extremely energetic body-people.

That trait is still natural to all Americans that survived that first Company age.

However soon companies needed people to manufacture machines, and so the religious groups that controlled body will (Calvinists, Jewish) became the great beneficiaries of the II Industrial evolution – the age of machine bodies.

Now Companies need information men to complete the evolution of machines and make brains of machines. So the Jewish and Chinese races of maximum informative specialization have taken over America, specially the first ones, who control most resources of this country.

They are clearly different to the rest, and today apply all those company-repressions through mass-media, as before the Calvinist Americans did.

For millennia, Jewish trader castes had specialized in creating such myths. They had to. Their tool of trade was bartering. They offered a bad thing and told you it was great, and you were so clever to take it. The Semite Phoenicians were known by those tricks. The Jewish learned, and they have mastered that trick in the way they manipulate the collective American consciousness through press, TV and all outlets of information. It is short of a natural instinct to have a duality of thought within that civilization. All people are stupid except the Jewish people. Yet you never tell them. They are in fact great, and you are the poor victim. This duality might seem crooked but is excellent for business. It is also systematically applied to the entire system of information the Jewish-American culture controls.  In essence it has created an entire new form of thought: the arrogant fantasy of the slave that feels free. The Jewish we might say have merely improved upon the previous English myths studied in the previous chapter.


The rest of men, are no longer controlling their lives, because they do not won the companies that control them, and those companies today are increasingly using machines. So they are released into total freedom-chaos, and let to tender for themselves.

He has become now a Metal mind consumer, that searches for pornography and lives in the fiction world of TV. It is Joe six packs. That ideal man of Companies is indeed the man of the Present and Future. Each of those animetal types maximized the evolution of metal in each phase of the Industrial evolution. And that has also  been the evolution of Humans in all nations as they crossed the phases of the Industrial evolution.


Myths have been adapted to each of those ages.


SO today that ideal Company man, confuses dog-eat-dog competence against machines, and slavery to metal productivity, with work self-realization. He is selfish and individualistic to foster metal  work and consume. He scorns love, and human feelings, even human goods, from food to the environment to consume metal-goods, and love TV-characters. He prefers to have a very limited human government, except in the task of War that uses to predator machines to give total power to companies.

All those myths are so old, as the arrival of the first company with the first cargo of indenture servants…

.So through such myths Americans are manipulated to love and go to test weapons in Iraq for Israel, in Germany for the stock-market business of reproducing those weapons, etc. Even today when his country has no foreseeable enemies, beyond the weapons it creates and others copy, propaganda for war is impressive. Ultimately the entire country is now the big armed brother of tiny Israel, who loves war, and whose owners love the profit of his weapons company.

In such society, ideal animetals are individuals free of all human bondage, abhorred as ‘negative’, both at individual level [repression of emotions and need for other humans] and at collective level [repression of government credit for human goods].

That denial of what is best for his human nature, is purposefully, pre-programmed by Metaleyes and marketing, that make him  a slave of Work + Consume

In such ideal nation of Companies, in fact the rights of metal are higher than the rights of man, the rights. So you can produce and evolve weapons with less restrictions than human goods. Property also has higher rights than man, even in those types of property that devolve and extinct man, which will be always dimmed as positive; while human goods, and human mental evolutors  [books and arts of human perception] are dimmed a luxury, a superfluous good.


Humans in such societies are also adapted with propaganda to minimize the costs of his animetal maintenance by Companies. So they are fed with processed food, and love it because to it ‘is wasting your time’. His bodies rest in low cost, serial homes. They live with minimal social activities and only consume-test products needed by the Metalearth: mental products, TVs, films, computers, and machine bodies, planes, cars, guns etc.

The design of such ideal man is clear in his purpose and arrows. And the fact that citizens of nations with more years of control by companies, do look more like that perfect human animetal, that perfect human product, merely prove the truthness of the control of men by company-mothers


In fact what we call the company-mother found in America a perfectly location, he owned originally in its land and people (slaves and indenture servants)  where to evolve machines. And it did it, converting all men in workers and consumers or enemies of the system degraded and extinguished. That fact explains that a seemingly ‘free’ nation shows however an equalization of behavior among individuals rarely seen in more complex societies. The equality between clones and companies roles for human races, for the reasons we adduce in the introduction [selection of racial pricing since foundation by Companies], is also paradigmatic in America. Political correctness ‘talks’  as a screen of perception, of human justice, and the foundation of America by free pilgrim rebels. Yet when the pilgrims arrived, the industrial slave concerns of the gunboat companies and cotton farmers – the future Virginian Presidents – were already working at full gear. And the old animetal laws of England still stand in America. Thus Companies selected productive workers, constantly enslaving and extinguishing the true humans which did not adapt.

The existence of only one communicator, money [though weapons have also ordered America, they have done it subservient to pricing], further simplifies the possible human mental characters available in America. Since all is valued by money, and so all is simple, external, and given to him. Thus the America has no inner values, no inner life, product of a need to select and value the external world with words, ethics and aesthetics

Without those ethics and aesthetics art means nothing to the American, which therefore will search for variety of existence not in human knowledge or social contact  or art, but in the variety of  jobs in which to work, and objects he can consume.

Ultimately he will also consume other human beings… In Europe by comparison, the existence of some warrior rituals and prophetic-artistic Wor[l]ds of Human thought, increased the variety and hence real freedom of being Human. This explains the differences between both nations since the Industrial evolution begun.  Europe has managed despite the difficulties of the Industrial age, to create art, and enjoy human senses, still today. Americans have merely never tried.


American Companies that owned the country eliminated all forms of power and activities that would not advance the cause of Companies; and so it reduced all kind of artistic=prophetic rituals and non-visual senses outside the companies systems of work and consume. Work=creation of machines, and consume=testing of machines, notably digital minds of the II and III Horizon, are thus the functions of existence allowed in greater measure to the American Animetal. Beyond those uses of his ‘free’ times, the American Animetal is restricted by laws of precise anti human-nature in his human will, which are however rhetorized through legal marketing and politico marketing as just laws, and accepted by a people, who has learnt through centuries of big stick policies by company-mothers and politicians to believe the law in 95% of cases.

They know no other alternative, no other language of power, no other source of behavior, in a country in which religions have no power, art is meaningless, and words always were submissive to money.

Of course dedicating all his life to work for machines, the economical ecosystem of America is the biggest and best of the world. So what? Are we robots? Or are we human beings?

4. Differences between America and Europe.


We talk of the American, modern man as a mere scientific particle that clocks->Computers, telescopes->metal-eyes, and press->television, the informative systems of the Metal-earth control and program since earlier age.

In those conditions to talk of human freedom in American culture, of verbal and visual artists, guided by human ethics and aesthetics able to evolve the mind of man is utopia. Art is dead in America because it is the Informative-arrow of the human eye world. Yet in a pure animetal culture only rhetoric art exists.


The American baroque: extinction of human and European art.


It is in that context where the differences between Continental Europe and American art and culture has to be inscribed, as an entire rhetoric system of antihuman ideologies promoted by all the systems of mass media.

Let us then introduce the true nature of modern culture which is no longer human but made for and by metal-communicators, as a software of machines, that carry a basic simple message: the human will is eviL the will of machines is good.


 The expansion of the American culture.


And yet the American metal-communicators and his goldiron ideologies, the myth of man as a top predator Homo Bacterium, free and over powerful are now a global myth. Again as in the age of fascism, we have to talk of neofascism, of the expansion of those myths by metal-communicators, that erase the consciousness of man. They increase the erasing of human spirits, by the paradox of history:


Max. metal-power=Minimal human power.


Indeed, human art seems still with us, because it fills the software of American films. We still see Shakespeare, and XIX century art, but we do not realize, that metal-communicators, and the human degradation caused by company-mothers in the spirit of Americans, make those forms of art, ‘corpses’ of what European art meant, very well mummified by the new media.


Imperialism by satellite: devolution of all other cultures.


In this Americans behave with European art as Romans did with his Greek spoils and copies. The Greeks opened studios to mass-produce copies of the great artistic works of Greece. So happens with American film-making and New York galleries. Modern galleries cater to simple stockrats and virtual celebrities that collect art as man collects life in zoos, and machines will collect man in data banks of genetic research. But NYC is not Paris [Greece III Age], America is not Europe, as Rome was not Greece I horizon, but a spatial simplification of a long Humanistic cultural tradition. Roman and American cultures are animetal, spatial, cultures, which can only perceive the most simple rules of human aesthetics, and reject as ‘weakness’ the human ethics of sacred verbal art, which judges them as eviL=anti live in their behavior. They have not understood the sacredness of art as the highest mode of verbal and visual evolution, which teaches man the survival laws of the Universe. Hence ultimately what Romans liked was gore and Circus, and what Americans like is war and circus. They have learnt nothing of the -isms, of the verbal thinkers that warned Europeans of extinction before I and II World war. So they will take mankind into the path of extinction, make robots, evolve weapons, and bring death to us, because verbal art is ignored, ethic art is despised.



As Rome failed to understand Greece, the Northern Goldiron culture failed to Understand the Latin renaissance, Social Europe, and the essence of Christianity: God=Love. That failure has left man a slave of Price and Machines.



The result is the simplification of the human character, and the hero of American literature and film: Since in America, all men are slaves of money. So there are not so many ‘human’ species to describe, not even of the ‘human’ vulgarity of Madame Verdurin or Mr. Sancho. There are no criminals with consciousness of murder such as Raskholnikov (“Crime and Punishment”), but hitmen for a price, that talk of hamburgers before killing (“Pulp fiction”). There are no men of personal code of Honors like Mr. Dimitri or Mr. Alonzo, but men of external codes of behavior based in the pursuit of money and the respect of the animetal ‘law’ (police films). There are no heroes, no meaningful sacrifices for humanity, but selfish goals of wealth and greed. In this manner, today mankind at large programmed by the mass-media that comes from America, through satellites, learns to kill the human spirit.



5. Electronic Metal-communicators. Television.


As metal-communicators evolve, their rhetoric convinces people in greater numbers of the values of that American, purified Animetal culture of Company-mothers. Today, the substitution of our human virtual reality [our perception of the universe through eyes and words] by the digital virtual reality of new metal-eyes [TVs, mass-media] is very advanced. Our youngsters believe more in Television propaganda than in Human truths. They prefer to see ‘the virtual lion king’ that the real lion jungle.

Further on, since the huge costs involved in its software reproduction are assumed by company-mothers, for whom men have lesser rights than machines, metal-communicators are used systematically to eliminate social ideals. It was all over again. The New Luther was called Hitler…

Radio was used by Hitler, Mussolini and their Companies of weapons [that paid their bills] to eliminate socialism and provoke a profitable war.

Again 40 years later the new metal communicator, TV-thought was used by American GOP Politicos and Digital Pricers, to deviate the 68 revolution.

The revolution was televised. Then Reagan, an actor, took power, and Bush brought a televised fun wars, like a video-game.

Today the American mass do not perceive reality but TV ideologies.

For them, enemies are not individuals, but all those people and ecological cultures that TV decides: Arab terrorists, Chinese communists, and the like. People are tagged in this way with words that dehumanize them. People become evil images on the screen, like those video game images that you can shoot at distance. Americans are totally indoctrinated by mass-media, as Germans were by Hitler or Luther.


How Television Controls Human Information: Ideologies of Companies.


All this said, now we will affirm that most likely you have not noticed that human ideals are becoming extinguished by Metal-ideals. You might not be any longer “in reality,” but you might instead believe what Metal minds, TVs, radios and computers tell you. Then you will be optimistic…You will be anesthetized, brainwashed, desensitized in your verbal, ethical understanding of the Universe. You won’t realize of what is happening in reality. TVs won’t tell you that company-mothers not governments rule the world. TV won’t show you the platoons of living tanks essayed in the American army, guided by satellites. TVs won’t show you entire human continents in process of devolution and partial extinction for lack of credit, like Africa.

TVs won’t show you the poverty and suffering of 70% of humans, degraded by metal evolution. You will have a vision of reality, partial, designed by companies, which shows in all their comments the point of view of the company-mother.

Big brother is TV Thought. It has arrived in a much more subtle manner than G. Orwell had predicted. Big Brother TV, as your brain orders its cells, programs the collective human mind with networks of information.

We have lost our sense of responsibility. The universe is a cruel, Darwinian place. Yet TV-thought makes people to think that violence is fun.

The Mass Media Company is a metal-mother who talks about her children, mainly weapons and money. Have you heard mothers? Do you believe them? Their children are always nice. Today you only hear metal-communicators, sons of mother-companies, who talk about the wonderful offspring of machines we humans consume=test=evolve, and companies create=re-produce. Company mothers in control of human societies control also human opinions. So today you will always hear the ‘reality’ of machines, not the reality of humans.


Species tend to believe what they perceive as real. You probably believe that the metal-communicator point of view about history and reality is truth.

Then you will truly be in the present age of Metal minds whose first function as me[n]tal top predators has been to control rival species: human minds. TVs have ‘deactivated’ our fear of machines, by making us ‘funny people,’ who think the Universe has no rules, who think all is possible for man, like in those Hollywood movies, all harm is avoided with some heroic last trick.

TV portrays super-humans, for whom there is no penalty when they ignore the Laws of God=The Evolutionary, bio-logical Universe.

How Metal minds control and kill human minds? Easy. TV thought has substituted our own language and virtual worlds of evolutionary information, by the ideologies and languages of information, of companies and machines. The medium is the language. The syntax of the language favors the species that speaks it. Now we no longer have our language-ideology [the books of verbal ethics] on our altars, but the language-ideology of machines, within our homes [the TV set].

In the graph we describe the programming of animetals by metal-communicators. They create a virtual reality, based on hypnotic addiction to the moving images of a superior “retina,” that is believed by the audience, regardless of the truthness of the message.

The process starts in mass-media companies, which give monetary orders [Hollywood producers, wages] to human artists, and oblige them to twist the message, into economically, politically correct, propaganda in favor of money and weapons, subliminal to all American films.

Virtual celebrities become loved, instead of real humans; virtual politicians are voted according to his acting capacities. People in general believe the metal-eye’s perception of reality. They believe the vision of man given through TVs, by Company-mothers for whom you are only an animetal, worker and consumer, who should not think too much.

Those “softwares” are reproduced massively into infinite, individual metal-eyes, which are put into the old place of “religious altars.” So animetals can worship their idea[l]s:

TV programming has increasingly reduced man to a mindless species in search of energy pleasures through consume, and immediate eye-sensorial satisfaction. He becomes isolated from other human beings, his feelings for them substituted by love to “virtual celebrities.”


Eye Subconscious Hypnotism to digital images [cameras, TVs].


Humans cannot avoid Television addictions, since as in the case of money, the hypnotized eye moves naturally towards images of higher speed and better colors, which TVs provide.

The metal-eye is faster and has more light than the human eye. So we substitute reality by the virtual reality of TVs, and believe on their programming messages.

Today metal-communicators are the only voice, image, and thought, that voiceless, eyeless, brainless people hear.

Go to a movie and look back to the audience’s eyes. It is almost ridiculous. They do not flinch. They do not move. The control of the image over their brains is absolute. Not even in a military review, people are so passive. They are hypnotized by the bigger, faster virtual world of the film image. The film has more information and transfers more volume of images to the eye than the reality outside.

So the eye wants to perceive more and prefers to become a slave of perception fixed in front of the screen.

An image today carries more subjective information than the virtual Worlds of the Human eye. Since all eyes want to increase perception, to increase complexity, the human eye becomes hypnotized by the complexity of the Metal-eye. In this manner, humans become trapped ±6 hours a day in front of Digital images. They consider the truths of the TV-set, more important than the truths of verbal, human, survival, ethical thought.

Hypnotism already happened in the beginning of science. Few cared about the ideas of Mr. Galilee. People just wanted to look into the telescope. They thought a man who had such a wonderful Metal-eye was very intelligent. The same concept works today about TVs. Full of errors and misconceptions, they impose their truths because metal minds hypnotize the brains of human thinkers, with faster, brighter images.


Techno-art: TV-thought


Painters have always known that black is the color of the perceptor, and red the color of energy, the primary form. But the eye searches for visual energy. In Spain, bullfighting is based in the fact that movement and red color hypnotizes the animal [bull] and spectators eye. This was known for so long that the first ‘capote’ cannot be remembered. In TV-thought, red movement is maximized by the ‘sport’ of bloody death. The program of TV-thought, the future eye of chips, is as simple as bullfighting. The human eye is a little bit more complex than the bull’s. And so we need more complexity of form than a simple cloth. Yet the program is essentially the same: the eye is the center of will. The eye likes movement and red. Red and movement is maximized with human death. Yet the universe is a communicator of action reaction. The forms perceived in TV grow in the brain as future images that will be repeated by our actions. TV promotes death and violence which man repeats, since all forms tend to repeat actions. And so TV is telling mankind as the ‘capote’ says to the bull: come, and die. And the simplex bull and the simple man go and die. And so TV, as the chip radiation, has to be considered a radiation of human extinction, considered in biological terms, not in abstract numbers without meaning. And because it attacks human survival, it should be extinct. Point. No more discussion. Extinction or Survival. The law of the Universe.


The Organs Of Digital Eyes:Internal Structure Of Information And Energy


Under the care of company-mothers Cameras tendencially evolve towards higher complexity in Energy and Information:

The Universal mandate, that guides the behavior of all surviving species of the Universe, applies also to the evolution of Cameras, of metal-eyes.

We say that any organic species, even in deconstructed state follows a simple mandate: to increase reproduction, informative perception and energy content.

Those are in fact the three “tendencies” of evolution in cameras. New cameras and TVs increase their energy content, they multiply informative channels that favor Company-mothers, and they reproduce geometrically.

So hypnotism of man also increases. It acts on consumers which wish TVs that give them more image information and image energy. Yet the more we evolve the energy and information of TV, the more it makes us love movement=violence. Why? Since all species imitate the information they see…

Let’s consider now those 3 evolutionary, organic arrows of TVs, programming our behavior, in more detail.


Increase of Energy-movement.


Computer based FX by appealing to the desire for higher movement and light effects of the human, non-pensive eye, create violence among men. People choose to see violent films when in printed, non moving letters they will never choose to read such simple scripts. People become violent – programmed by cameras.

As TV-thought increases the violent-devolutionary arrow of movement and energy [red colors], man becomes more dramatic and violent.

What is the practical consequence of this desire for movement?

The constant use of genres that imply movement in images.

Dramatism, violence and comedy due to the higher rate of mobility of those genres appeal to the audience more than static human worlds, [‘talking heads’].

For that reason intelligent people, which move less and give more information, disappear from TVs. They only existed at the beginning of TVs, before rating polls decided TV-images by movement.

Movement and FX, are imposed not only by ratings based on hypnotism, but also by technology. Since computers also evolve towards more complex, faster images. So both, images and chip brains, become symbiotic in TV Thought.

Chips create faster images, that render higher profits to producers.

Myths of human freedom deny the nature of the Universe. They deny the greed of beings for energy and information. Species are trapped by that energy thirst. We put ‘baits’ in animal traps. Companies put bits of violence on TVs.

Men are programmed to wish energy and information machines. A human attached to an energy gun [object whose function is to kill humans] will become a ‘virtual probability’ of murder, because men will desire to see the gun’s energy. An ice-cream attached to a child will become a probability of feeding, that increases the energy of the child. A man attached to a TV will believe anything the TV tells him, if he is not conscious of the hypnotic desire for energy and information natural to the human eye.


– Increase of Pro-companies information

The quantity of data that an image carries is immense compared to a sentence. It constantly increases as digital channels multiply. So humans prefer to see images, than hearing words. They become more and more addicted to digital channels. However such images are not necessarily the right information for human survival.


Let’s do some basic philosophy:

Survival is a temporal function, expressed in verbal thoughts. Ethics are subjective laws of temporal survival.

The eye is spatial. It has no temporal depth.

As a consequence the eye has no survival sense. It follows that images have no morals, no sense of temporal truths, and no history behind. So cameras see death without fear.

They transfer that violence to viewers who become ‘neo-Paleolithic men’ that lacking words, loose their temporal, ethical, social sense, their survival instincts.

TVs replicate their ideas and images in the mind of mankind, substituting ethical words, specially among youngsters which receive image information, even before going to school.

Man forgets his real, verbal, survival information, hypnotized by the worthless information of images. He makes mistakes of survival at individual and collective level.

This is the nature of the neo-Paleolithic behavior of 20th century men, killing men more than ever, first hypnotized by radio and today by TVs.


– Increase Of Software Reproduction

TV-images multiply as stocks credit more company-mothers of digital images [films, channels, new audiovisual technologies].

Germanic peasants believed the metal-press. Germanic workers believed radio-Hitler. Today human consumers believe TV-truths. Mr. Carson was more respected than the American president.

A tendency that will only increase in the future. Since both TV-thought and the incoming three dimensional virtual multimedia, custom-made to the individual, will make us to prefer the virtual universe of digital images, to the hard jungle of life.


Character Conversion. The Neo-Paleolithic Drama, Comedy Infantilism


We can now look at those 3 evolutionary, organic arrows of cameras, from the perspective of the “artists” who believe to be ‘original’ making TV programs, when they merely follow the natural arrows of TV-evolution.

In the next graph, almost every program of TV-thought can be included in one of the three ‘movement’ genres of literature -infantilism, comedy or dramatic and violent thought. Those genres lower the social goals of man. Each of those genres is the simplified or negative perception of one of the three main arrows of human mental evolution. They weaken and destroy those natural arrows of human social evolution: Love is inhibited by drama-violence; social-emotional action is inhibited by deactivating comedy; and education on the living Universe is inhibited by abstract science, infantilism, and biased news, that back metal-species.


In the graph, TV-programs belong to three basic genres, of devolutionary, moving-image nature.

Infantilism is the opposite of real knowledge.

Comedy is against problem-solving. It laughs at problems. It kills responsibility.

Dramatism derives into violence and destruction.

They are therefore the three ‘anti behaviors’, that inhibit and devolve the social, survival verbal human mind. The choice of those genres however is natural to the TV-language, which expects image mobility enhanced by dramatic, infantile, gesture-like reactions, proper of the pre-verbal, mimic age of man. Those genres bring back into man’s behavior what we call the Neo-Paleolithic age of children-like humans, without relativistic understanding of human relationships.

Neo-Paleolithic men become focused on the image-based values of the body, and the individualistic pursuit of “freed”=freedom of greed, promoted by TV-companies. This is self-evident in the most exposed American “children.” The “movement=image” genres par excellence, Comedy, Drama-Violence, and Infantilism, program our children. Genres are the anti truths of social behavior. Comedy, infantilism, violence are the essence of Neo-Paleolithic thought, which causes the erasing of the higher logical languages of the human mind:


Its effect in human consciousness, is the imprinting of violent, devolutionary, mythic, dramatic behavior in young people, which imitate those genres. TVs, no longer parents, shape the personality of young Humans. Yet Human arrogance and marketing, still rejects this obvious trend, expanding worldwide.

Just look to the modern American character. People are big children, that learn by imitation of TVs, not of parents. They are no longer engaged on the problems of humanity, since TV rejects those serious approaches to reality.

The American individual character is increasingly an imitation of our three genres of TV-thought, that today are all pervading in the reactions of the American people.

Americans are becoming comedians, dramatic children, without any social or logical sense.


Eye Subconscious Hypnotism to digital images [cameras, TVs].


Humans cannot avoid Television addictions, since as in the case of money, the hypnotized eye moves naturally towards images of higher speed and better colors, which TVs provide.

The metal-eye is faster and has more light than the human eye. So we substitute reality by the virtual reality of TVs, and believe on their programming messages.

Today metal-communicators are the only voice, image, and thought, that voiceless, eyeless, brainless people hear.

Go to a movie and look back to the audience’s eyes. It is almost ridiculous. They do not flinch. They do not move. The control of the image over their brains is absolute. Not even in a military review, people are so passive. They are hypnotized by the bigger, faster virtual world of the film image. The film has more information and transfers more volume of images to the eye than the reality outside.

So the eye wants to perceive more and prefers to become a slave of perception fixed in front of the screen.

An image today carries more subjective information than the virtual Worlds of the Human eye. Since all eyes want to increase perception, to increase complexity, the human eye becomes hypnotized by the complexity of the Metal-eye. In this manner, humans become trapped ±6 hours a day in front of Digital images. They consider the truths of the TV-set, more important than the truths of verbal, human, survival, ethical thought.

Hypnotism already happened in the beginning of science. Few cared about the ideas of Mr. Galilee. People just wanted to look into the telescope. They thought a man who had such a wonderful Metal-eye was very intelligent. The same concept works today about TVs. Full of errors and misconceptions, they impose their truths because metal minds hypnotize the brains of human thinkers, with faster, brighter images.

TV movement hypnotizes the human eye [6 hours a day in America] who prefers violence to any other program of TV. Big Brother has arrived. Long Life to big brother. Hail his wonderful smile. Love the way he kills men. Love the children that burst into red blood. The eye moves tendencially in a human being, a bull or a computer-robot towards red or movement, the signs of energy. Drama, comedy and infantilism, become hence the movement genres of max. rating, and max. profits, preferred by companies, re-producers of digital thought=software. They are copied by the modern, dramatic, violent, spatial, mindless, infantile men of today, including our politicians, geared to become violent as TV-thought is. Not even Stalin or Hitler achieved such number of copies of his “persona,” as the three genres have achieved among young Americans. That is the meaning of a “fascist dictatorship” of any type: it controls not only of the ideas but of the emotional reactions the people.


TV controls your mind. An earlier version of Internet=Matrix.


Digital thought has also ideological, economical restrictions imposed by the structure of Companies, which bias TV messages, in order to increase animetal activity and diminishing social goals.

Basically the only reason of existence of TVs, the capital that finances TVs, the market that TVs has created, is propaganda, advertising, the creation of lies about products, that rely on aesthetics and emotional and intellectual manipulation to make human beings addict to consume.

In the age of obsolescence of human workers the function of TV is dual:

– On one side to anesthetize and erase the human mind, through fiction and fun, that deactivates the human population that no longer fights for his rights, and organizes itself, but becomes isolated, and degraded, hypnotized by TV.

– Since now humans have as only aim to consume, to vitalize machines that are almost self-reproductive in automated factories, propaganda induces you to consume.

– All other ideologies of TV are animetal ideologies that worship the use of money and violence, of weapons, as the means to achieve you goals.

For all those reasons we can say that TVs are the ideological branch, the informative network of the Metal-earth, that reinforces the financial network in the control and programming of the human mass.

Indeed, TV Thought is Big Brother Smiley.

It is the most subtle way to control your mind. It is Matrix on its earlier version, now enlarged with Internet systems, that fusion both informative networks of company-mothers, e-money, stock-speculation and information.


Work And Consumption Ideologies.


The ideology of TVs are dictated by Companies which stress direct messages of consumption, work, and marketing. As a result there is in TV thought a hidden censorship against documentaries, social films and all plots which are not simple, dramatic, politically economically correct works. From the Human perspective to watch TV is a well deserved rest from the hard hours of enzymatic work. From the perspective of Companies to increase the hours that a Human being spends watching TV has many salutary effects, all of them contributing to the transfer of animetal values:

– It increases consumption among animetals through advertisement.

– It causes the moral and Political indoctrination of animetals through the ‘news’ provided by TV companies. They stress nobility of work-alcoholism; “grandeur” of animetal nations and importance of Economical growth as a measure of national success. On the other hand news degrade past-human cultures [Islam and Latin-America] and stress the “supreme evilness” of human sensorial products [notably drugs, and sex].

– It depicts non-technological people unneeded by the Metal-Earth as a brutal, violent, self-degraded [not companies-degraded] population, that is better kept in jail or outside the borders. There is a psychosis of terror in the portrait of the external world through sensationalistic news and violence which promote weapons. It also controls citizens that afraid of the outside world enter their fixed animetal routine – work-home-consumption-work – the goal that company-mothers have designed for mankind.

– It substitutes real human leaders by programmed celebrities, with null internal content [actors, image politicians]. Virtual celebrities are designed by Mass Media Companies according to a basic template, which could be resumed in the concept of “Smiley”: Celebrities are fun, ignorant, optimist, in love with money and consumption, body-oriented, selfish=individualistic, without political ideas. They are empty, dramatic, self-centered marionettes of companies, filled with marketing cues-ideas of null human solidarity, living in a dream of power caused by the by simultaneity=celebrity of TV-images across a worldwide audience. Such are the role-models of our society.


Other effects of TVs in the informative mind of men are:

– Censorship of social theories of economics [Marxism, bio-economics], and worshipping of obsolete laws, and property over human rights [Old Constitutions, Stockracies=democracies, Old Go[l]d religions, Police]. Optimism and technological Messianism against all critique of the future.

– Worshipping of competitiveness between animetals as the natural goal of humanity [worshipping of number ones].

– Reduction of knowledge to mathematical and rhetorical statistics [medical data, social statistics, verbal inquisitions of political correctness, worshipping of Science.]

– Promotion of metal goals as the nature of all solutions: You have a problem?, are you a hero?, then you kill. You have an emotional problem?, then you break. Needy is he who needs other men, cool is he who needs instead of men, a machine or weapon to solve the problem.

– Promotion of technology, Go[l]d, Weapons and computer Thought as supreme goods and truths by which the success of an individual or country is measured.

– Worshipping of money [the rich, money games, money values etc.]

-Minimal information: the number of words in a 1/2 hour news broadcast equals 2/thirds of the words of a single page in a broad sheet newspaper.

– Lack of serious documentaries about reality; [except in government channels considered in extinction phase, obliged by American mass-media lobbies to beg for money to his audience.]

– Extensive devolution of verbal thought as the submissive energy of images.

– Emphasis on body enhancing activities, notably sports, over human mental activities of lesser visual appeal.

– Evolution of computers by extensive use of computer FX.

Yet TV-thought has not only controlled the soul of man, and devolved our social-verbal languages, programming the citizenship to love information that destroys them.

It has achieved also total control of Political power, which now needs TV-communication and so it is submissive to the economical stock-master castes that control TV companies [a theme studied in our books on Bio-history, that stress more the political, human side of the present bio-economic ecosystem].


Dramatic hypnosis of mankind. Thirst for movement and violence.


In that sense TV-control of social communication and the role of politicians in bio-economical systems is similar to the role radio played in fascism, to encourage dramatic politicians, actor-politicians, and war-politicians.

For that reason we talk of Neo-fascism, in the political arena, as the effect of TVs. We talk of Neo-Paleolithic in the artistic arena, as the effect of TVs in the devolution of the human mind.

And finally we talk of the age of the Metal-eye, a new conscious species, as the main effect of TVs, in the field of machine evolution.

The Neo-Paleolithic is treated in our books of bio-history. So we will consider here the two consequences of TVs in the strict field of bio-economics: the creation of war, and the evolution of a new consciousness, a new mind, the metal-mind.


The same hypnotic effects that red color and blood causes in the animal, robotic or human eye, is the main cause of our change of mentality, that make most young people to love violence, and war, given the higher movement and red colors, provokes a natural wanting for war images on TVs. So men like on TV what they despise with words: murder and war. This means that since now Politicians communicate through TVs, those politicians who praise war on TV are elected. This goes on since Reagan and now is a worldwide phenomena that will lead mankind to the Third world War, reinforcing all the cycles explained before, as radio-politicians brought us the II World war. Murder becomes natural on TVs. Murder is a desire of the eye for red colors and movement, a physiological desire exploited in TVs, to provoke not only violent behavior in individuals, but also in collective nations. Now it is very easy to market war. War is fun in TV. War is movement and red colors. Since TVs came, it has been very easy in America to convince people to go to unnecessary wars, to cheer war, to love war. War is ‘cinematic’. Ever since CNN got maximum rating showing a war as a video-game, and humans as far away moving targets [Desert Storm], it has been clear that TV is the biggest ally of ‘neo-fascism’. Neofascism, as it happened in the age of Radio, with fascism, can convince people of war, just by showing war ideas on the metal-communicator.


The Destruction Of Social Network: Individualism.


It is now clear, that the main consequence of metal-communicators is the destruction of social Gods, of networks of social information, at collective level [religions, political power], and at individual level [in the behavior of human individuals and social politicians]. People become divided back into cellular, individual units and social gods become extinguished as your nervous system becomes extinguished when your cells become unconnected.

This happens for several reasons:


– The higher complexity of Television and his direct access to human homes, substitutes the get-together meetings of “masses” where the collective experience of a social god, joining the minds of believers [mystique experience] takes place.

– The image-nature of Television, diminishes the perception of verbal words, and the social, ethic networks that verbal words create. Instead we only ‘see’, as the Paleolithic men did. We talk of a new Neo-Paleolithic age, which implies the extinction of the verbal man.

_ Images also substitute reading. So the basic cellular unit of a verbal God, a Book of Revelation, is no longer read; and believers loose their internal information.

– Since images are spatial, all temporal concepts and all forms of information such as God, are simplified.

– We see only individuals in Televisions. So the third narrative person, necessary to explain the other, the social group, disappears. All characters are first person characters. Men who imitate those role models, become selfish, self-centered, individuals without connection with other humans.

– The dramatism of images breaks social and human bondage.

– The owners of mass-media companies belonging to Goldiron religions, promote mainly Goldiron religions [Judaism, Old Testament Religions, Nationalisms]. They attack social Gods [Gospel ethics, Islam]. So those social networks are weakened.

– The promotion of Weapons and Money is endemic. It causes recurrent wars and violence that destroys solidarity and many human cultures.


Simplification of goldiron cultures. The American baroque.


Yet even the goals of goldiron cultures, the morals of earlier American cultures become degraded by Television, showing to which degree the evolution of metal-minds is independent of the will of man. In that sense, the destruction of social bondage by television has gone beyond the ‘desired’ limits of the goldiron culture, a degree further, erasing the minimal unit of social bondage that existed in those cultures: the family, unit of survival and reproduction of mankind.

Indeed, the outcome of television is what we call the American baroque, a further simplification of the Goldiron European cultures. To the point that we consider America a different culture from the European English culture of Bodies of machines, far more erased mentally. Indeed, we can say that America means the extinction of the animetal culture, in what it had left of human character.

In America the classic British culture that we studied in the previous chapter, carried fundamentally by the press, was substituted since the 50s, by ideas expressed by the new TV metal-communicators. Soon the need for movement and violence brought new ideas, which modern Americans believe, programmed by they metal-communicators.

Those changes of ideas that erased the last traces of Christian humanism in the goldiron culture are:

– God is not longer good, but Darwinian, since there are too many deaths, wars and injustices shown in the digital mind of machines to justify  So the old ideals are problematic. The new ideology says that social evolution does not exist, that God kills, and those who survive are the people who deal better with money and weapons, etc. So the few ethic elements of the Protestant culture, kept from earlier Christianism have disappeared.


– Visual languages are now the only language of America. Words have truly disappeared, and with it the interest for learning.  Better to have fun. This happens because now metal minds substitute human minds. So we are no longer needed as workers. The concept of fun and consume covers this radical change.  We are better off becoming mindless consumers. The ethics of work have disappeared.


Visual propaganda has been so overwhelming that consume has substituted totally the desire to work. In this man in as much as consume is a destructive act, men have become destructive beings in their natural essence, further enhancing the violent traits of metal-communicators.


Surprisingly all those facts are symbiotic to the role that machines expect from man at the end of the Industrial Evolution, when machines no longer need workers, almost able to reproduce themselves.


Machines no longer use workers, only consumers=testers.

Let us consider that fact from the historic perspective of the evolution of machines. Since 1929, there is a surplus of human workers, as machine-workers keep evolving. How to eliminate them? Metal-communicators have been fundamental to solve this problem.

The easiest way to eliminate a surplus of workers is war. We study that process in “Bioeconomics”. Basically when the market is saturated of peaceful products, there is a surplus of machines and consumers. yet if you make a war you solve both problems: you sell now weapons that are consumed in wars and so production increases to substitute them, and you kill obsolete labor in war. To convince people though you need mental programming, and metal-communicators can do it. So in Germany, the first role of metal communicators after the 1929 crisis was to create the II World War, (radio-fascism). Then after war, the tendency to eliminate workers was increased, filling human free hours with TV programs, and  increasing the secondary role of animetals which is testing and consuming machines.

Then as men increased machines, the individualism of the consumer was highlighted as a form of freedom to further increase that consume.

In modern economic ecosystems the saturation of markets, finds two easy paths for further multiplication of demand: Demand among companies, and individual demand of lonely consumers.

To that aim propaganda bombed on the consumer.

It was also necessary an ideological r=evolution that would simplify human societies, releasing individuals, that would need machines for all tasks of existence, detracting time from family values.

Animetal societies would be broken beyond the family unit into ‘individualism’ to multiply the demand for machines to one radio per person, one car per person, and one electricity outlet per room. This is the fundamental leit motiv of modern individualism: the individual is a basic unit of consume that has more times for testing metal than the family which will use only a car, or a radio. Yet the use of machines isolates individuals from social ties… This unneeded consequence of massive consume – the destruction of social ties caused by the consume age, as machines were sold to individuals is followed by all nations that enter the consume age. First USA, then Europe.  Today Asia is breaking also its family units as it evolves from its production to its consume age. Finally as metal-minds multiplied digital software, new hours were detracted from family life to put the individual in front of the TV, now consuming software. Today the American spends an average of 5 to 6 hours in front of TVs… During that time of course he reinforces his program of consume, and hate to other human beings, that will increase his isolation and ‘addiction’ to TV.


The American paradigm: ethical shift from work to consume


Let’s consider the process as it happened in America, the paradigm of the metal mind age:

The animetal unit in America had to be broken from its work-morals and production values into consume values, to multiply for 4 or five the consume of metal goods. This happened through the Radio-TV ‘Smiley’ communicator which prepared in the 60s, families for the new morals and the new age of individual consumers.

Yet this deconstruction of human bondage, now is entering a final phase, of pure mental destruction, as mental division happens inside the mind of man between the different elements of your personality.

Indeed this happens in the Neo-Paleolithic man in the last phases of devolution through deconstruction of internal sensorial organs. Now it is the individual which is broken again into ‘its’ simplest units of will: sexual release through pornography, mental information erased by digital languages, and social evolution substituted by violence.


Fiction multiplies channels…

The advantage of the destruction of inner morals and wantings is clear: confused, without a single point of view, emptied of feelings, the individual is able to consume the multiple channels of digital brains.

Freedom of thought now becomes ‘noise’ that allows the diversification and multiplication of TV channels and propaganda, which give more profits to TV companies. For that reason fiction is always preferred to truth. There is only a single truth, but infinite fictions. If truth were the guide of the watcher, then it would seek only for a channel, but fiction multiplies channels.

Yet family values and ‘truth’ are the minimal requirements for a culture. The truth might be biased as it is in the goldiron culture, but the member of the culture has to have a truth. The present tendency to total fiction implies the end of the goldiron civilization, which after all was created by human beings. Now it is no longer needed: humans are better deactivated as simple bodies, with fictional minds, in search of simple pleasures, and individual, multiple consume.

And so human ethics of work, are substituted by ethics of pure greed and consume, in individuals of minimal social aggregation. And animetal truths are substituted by fictional brains, that might believe anything and consume any ideas, without fixing his mind in any of them. Hence all social structures, including the cultural rhetoric of warriors and Traders that we knew as the ‘American civilization’, are in process of decomposition. Now man is freed in all his impulses previously controlled by the Metal earth, [mutation from Protestant morality into freedom of fun]. Because his only function is to be a free tester of the multiplication of digital minds [TV-chips], which speak and d=evolve further the languages of man. The shift of behavior caused by Metal-minds  in the perception of reality by human beings, is symbiotic to the Metal-earth goals…

Indeed, the pathetic Neo-Paleolithic man educated by TVs is useless for any task. He therefore becomes substituted by robots, computers… He is so degraded that the ultimate ‘myth’ of the goldiron animetals ‘men are despicable since we are superior to them, we are chosen of Gold’, becomes reality. Problem is it affects all men, including the goldiron members.

Indeed, the devolution of British and Jewish people, in mental complexity is so obvious for anyone who has known the Californian Jewish-Americans, and knew the Jewish of a few decades ago, that one can only think as the saying goes: “It got back to you”.

So a new change of ethics has happened with the arrival of TVs, as it happened in the XVI century from ethics of love, to ethics of work – the shift caused by the Metal press. If then, the metal press destroyed the Christian ethics of charity, substituting them by the ethics of work needed to create metal-bodies, today the ethics of work are substituted by the ethics of consume needed to perceive metal minds.



Our only function is now to be a free tester of the multiplication of digital minds [TV-chips], which speak and d=evolve further the languages of man. Relativism of human behavior is required to consume all kind of images, and to ignore within that mass of irrelevant noisy information, the true nature of man. Ultimately such software allows the multiplication of the chip-TV sentient hardware. While it decreases by the Paradox of History ethic human behavioral thought based in truths that no longer believe.

There is only one true ethical path of survival=love, which now is confused by a mass of rhetoric ‘free’ channels, that hide the ‘social path’ of love to the ‘bewildered herd’:


Max. channels =Max. animetal truths=Min. Human truth.


As the metal mind grows in hardware capacity, it creates many rhetoric, fun fictions, in order to fill that hardware.  We are free to become idiots and live a fantasy, because by being free consumers act as testers and vitalizers  of the TV-metal eye, and the Chip-brain.


Of course a man that lives in fiction, in the American false dream, does not want to know anything about truth, about the American nightmare. It becomes passive, tamed, like an animal of the animetal farm. Orwell knew better.




6. Political control: Television creates Neo-fascism.


To understand the role of Metal-communicators in the control of the American government, it is necessary for you to leave aside your myths about democracies.

They are myths very subtle and very well crafted that have nothing to do with reality.

Democracies are not the government of the people, but systems in which company-mothers control and govern, by controlling politicians with lobbyist money. They were in fact, originated by the first company-mother in Holland long time ago. Then all society in Holland worked for the company. We established in a previous paragraph the different companies that owned America. Now America is owned by metal-mind companies. So they choose also their politicians. How that control happens. through Television.


3 historic elites Slave owners, robber barons, Jewish metal-minds


We have considered in more detail in the previous paragraph the rhetoric of metal minds ruled by digital information since it is the present America-World. However metal-communicators have always existed in America, which was a civilization founded by company-mothers in the age of metal press. So from the beginning Americans have been submitted to metal-communicators What explains why they believe much more than Europeans in the culture of machines and money.

The American public opinion was controlled since the revolution by the press, at the service mainly of companies of pricing making money and news [the first press was in America at the service of gunboat trading, quoting arrivals of boats to port and little else. Franklin used his mainly to reproduce paper-money]. The press became finally unified in a global network by Mr. Kane=Hearst which became the first tycoon of metal communicators. He set himself to prove this fact by killing a president with a campaign on the press, that would arise an anonymous killer programmed by the campaign, as TV-thought would latter do in its anti-left wing activist campaign that killed the Kennedy brothers, and the Black leaders. In this manner anonymous killers of left wing=human leaders pop out systematically, and no one can blame companies. It is a subconscious way of manipulating human consciousness what does it. This means in other words that metal communicators control American minds and the control of them, means massive power.

So when radio came, Jewish no longer wasps moved in as top predator caste in America.

Probably their control of radio saved them from a massacre in America the way Germans did in Germany where the army controlled radio.

We talked of 3 castes of power in America, one for each age of America.

The Gunboat age was controlled by English city stockrats, southern planters. and tea traders.

The railroad age was in the hands of New England robber barons and carpet baggers, and railroad military of Lincolnian origin. When radio came, the Wasp coalition which took power from the Cotton slave presidents of Virginia [railroad age] was substituted by the Jewish coalition.

So the metal mind age, would be in the hands of the Jewish-German immigrants, which after I WW, abandoned the looser German ship, leaving there in a weakened condition the Jewish mass, no longer with control of German capital. They brought to America the higher complexity of the German culture and its metal mind products. They created the first radio networks; and introduced Wall street to sophisticated ‘swap’ finances, and new modes of speculation.

Hearst left way to radio networks. And radio networks to TV networks. Soon the Jewish people would also control the legal system [±75% of legal partners]. So by the times of the 1968 r=evolution, their control of the 3 tools of power of any stockratic society: creation of money, metal communicators and law, was absolute. This of course was denied to the Americans, but widely understood in Europe. What they would do with that power was then not so clear. Yet a hint of how they would use metal communicators could be found in what they did to Mr. Welles the best left wing artist of American History, when he tried to make the parable of America in the movie, ‘The American’ latter changed in title to ‘Citizen Kane’; where in dramatic terms, the History of the first metal communicator network was explained. They censored him, and made a pact with Hearst… and then with McCarthy, not to let anymore any pro-human ideas to be cast on TVs, films or radios. Only entertaining fiction that could distract people from their real problems. Documentaries, and social films were forbidden and are still forbidden in Hollywood and American televisions.

In the 70s, they made a pact with the military system, to protect the interests of Israel in the middle of the Yon Kippur war against their inner poor – the Arab population. A pact which still holds and controls America, and through America the present world: all r=evolutions, all social ideas, all complex human thought, all criticism to American Company-mothers power would be forbidden. Yet it would be done in a subtle manner, not with fascist messages, and big brothers, Orwell-Hitler style, but with funny programs to deactivate human concerns for their future.

So in the 1968-1972 period, TV aborted the human r=evolution of America, with fun music, love songs of the Beatles, that hypnotized people in their homes.

They did not go out to r=evolve. They watched TVs since the r=evolution was televised.

Or they had fun with drugs in audiovisual concerts that substituted masses of wor[l]d religions, with 3rd rate music of dramatic, placebo nature.

It was as all the previous r=evolutions managed at distance by Company-mothers.

If first Company-mothers of gunboats, of tea traders, and cotton traders, manipulated the Independence revolution; and then companies of railroads manipulated the Secession war and black r=evolution, now metal mind Company-mothers would manipulate the middle American class r=evolution.


The Jewish age: electronic money and metal-communicators.


In 1972 the r=evolutionary game is over, and the digital mind will start control of all resorts of power, with the debasing of the presidency, [Watergate], the cre[dit]ation of e-money by computers [end of dollar convertibility that ended the rights of governments to print strong money in notes], and the Yon-Kippur war [end of policies in favor of their world societies].

Two groups of people would then systematically become accused of the constant inflation of prices in human goods that e-money investment in technology has caused to the world economy, debasing our quality of life: the poor [Latinos, blacks] and the Arabs [inflation was caused according to the popular belief not by the massive reproduction of electronic money that debases the value of money, and jacks up prices in all products except those that stocks cre[dit]ate – technology – but on the oil shock of bad Arab nations].

It amazes me that the obvious fact that the Radiation of e-money invented by Wall street is the main cause of worldwide inflation, is not recognized today by any newspaper.

So easy to cheat human with abstract numbers!

Meanwhile the Jewish new caste achieved total control of the system of law.

They cre[dit]ated a new batch of fascist anti-life laws, ideologies and inquisitions of political correctness.

Feminism came in handy, to debase the reproductive goals of women, and their traditional caring for life. Now they had to behave like men, or hate them, and castrate them. Jewish feminist traditions [penis mutilation, worship of gold] and her goal of real and mental castration of warrior male species, has been a total world success

The debasing of the black-Latino-Islamic male cultures is part of that trend, through harsher and harsher laws against chemical pleasures; anti-drug campaigns, industrialization of the legal and jail system with forced labor, indifference to poor’s gun ownership, massive violence on TV, demonization of male dominant cultures such as Islam or Latin-America, or black cultures, etc. Yet not only violence on those cultures was debased, also all life attitudes…. It is better to have robotic weapons that human soldiers… To kill men with air strikes that help them at ground level.

So the Jewish period is the present period of American History, and no better than the Virginian age, or the New England age. The true difference is the change at product level. Since in America only the product evolves, the 3 species of Company cultures more or less act in the same way. What changes truly is how machines act over humans.

How much control does have the new elite over the country? As systematic and thorough as that of the previous wasp elite, now in second term as stock holders and allied to Jewish lawyers. A simple prove of such synergy of power was given when Mss. Clinton tried to reform according to popular will [9 out of 10 Americans wanted such reform] the Health care system, controlled by Jewish Hospitals. The attempt was aborted by the combined action of Doctors, TV-thought, and Lawyers who taught a new ‘lesson’ of who is the boss [creator of pubic opinion] to the American presidency by exposing all possible ‘peccadilloes’ of the presidency. The prestige of the reformer was crashed. And the system of minimal Human Goods for Americans continued.

True power always controls information. Since the coup d’état of 1972, against the presidency and the dollar [substituted by e-money as the new radiation of pricing] TV controls totally American opinion. So the public ignores the hidden causes of present American reality [the chip, TV and e-money radiation], and his consequences, because TV only talks positively about those machine radiations.

TV debates today if the president will or will not have to show his ‘tesxxxles’ in public to prove that a greedy ‘wxxxe’, did not have intercourse with him.

This in Europe would be an scandal. The people would be mad at the… press that wastes our time with such irrelevant things to the social work of a president.

Yet in America the public under strict feminist puritan programming, takes the whole matter seriously. The Americans have swallowed the entire theory that the systemic debasing and the decadence of the Presidential institution to increase stock and TV power is a prove of freedom. If American freedom was hold before by the fact that the people chose a strong president, the magic of TV hypnotism has convinced them in a few decades of a total opposite opinion: the government is who is limiting America freedom.

Why TV programs such idea? Because today the presidency is no longer required by metal Company-mothers, which now can program the audience through TV-thought, and prefer to do a ‘contract with America’ in the line of the first slave and indenture servant contracts, that saves welfare money. Without government and with private security America returns to the tribal age, of massive violence and Gnp=metal growth… To an age in which small companies of software and robotics will inundate with stock credit the market with living animetals, till those animetals organize and massacre in a few days the entire American population.

A strong presidency, a strong human army, a strong verbal education, could avoid the extinction of America, and mankind that probably will happen this century. Yet Company-mothers and Go[l]d religions cannot even contemplate the ‘bizarre idea’ that man is not the center of the Universe. That a vulgar chip is as ‘perceptive’ as the soft, ugly, bloody, vulgar brain of a man… Both thinking machines are vulgar when we observe them externally, but they hold virtual worlds from the flowing point of the electronic flow, that equals the systems of perception of men and machines: both are forms of electronic perception.


Modern  Political Control by Metal-communicators.


Mass-media has given total power to the groups that control TVs.

In America it has after ‘Watergate’ [made so important thanks to TVs], substituted Wasp control of America by Jewish control. We can indeed talk of a coup d’état of the Jewish subculture thanks to mass-media, the creation of e-money, the crash of the dollar and the crash of the prestige of the presidency.

Ever since, telecom companies have control of the American political scene. They set limits of ‘correct’ behavior to politicians that need TV-exposure.

The process is taking place in all nations. Now it has been completed also in Europe, where serious politicians give way to dramatic virtual celebrities, and image products such as Mr. T. B. in England.

Televisions have expanded the dominant Goldiron civilization [Jewish-British culture] worldwide. While e-money has expanded their companies worldwide.

Today TV-thought thanks to stock-speculative capital has expanded and controls all previous metal communicators [radio, press and book systems of information].

Today Politicians do have to be first image men, which means that in a “spatial language” as TV is, they have to be simple, dramatic actors, able to empathize at the level of linguistic dialog that TV allows, with his people.

So actors become presidents, and presidents act for the camera, controlled by lobbying. We resume all those elements of TV in a scheme of its evolutionary phases:




The main effect of such control in Europe is the extinction of social parties, and intellectuals which still hold the names and doctrines of humanism, but are corrupted by the limits that company-mothers impose to TV-celebrities. The control of verbal worlds by industrial TV, makes more and more difficult for real, human intellectuals, to explain the point of view of man, and create human opinions.

While former social politicians to become elected now promote capitalism, and telecommunication products. Meanwhile the creation of new alternative humanistic ideals such as ecologism or “ethonomics” [control of the market to enhance human social survival] are repressed by lack of outlets in which to be expressed. Many left wing newspapers are now controlled by TV-channels obsessed by profits, in the hand of tough entrepreneurs of the metal mind age.

TV doubles the corruption of democratic systems. Since now the selection of politicians by company-mothers takes place twice. Lobbies pay politicians to vote pro-company-laws. Mass-Media companies decide the outcome and messages of campaigns.




7. Metal-minds degrades Human art. Painting dies.


It is then clear that the combination of a spatial civilization with minimal verbal development, and a limited human will, and systems of information developed around spatial metal-communicators, that simplify human words, and senses, have had as a natural result the destruction of human art, both in America and the world at large.


Extinction of human arts by the multiple dimensions of television.


Indeed, a final role of TV software is the end of art substituted by Television images that use a mixture of all human verbal and visual arts to create its software. And this happens because television despite its shortcomings as a media to express human feelings, technically can carry all the elements and languages of the human mind together. So it can prey in music, visual arts, and verbal arts together.

So writers are no longer read because TV software substitutes them.

Only Mac Luhan  in America partially understood that human holocaust of artistic forms: ‘the medium is the language’; and a medium able to carry all human languages together, would become The only Language of social communication.

Metal minds mean the death of human art, by absorbing human artistic languages, deforming them, ab=using them to create an animetal message, and finally passing that animetal message to your mind.


All put together, the languages of man, seem to carry more information than one by one. The result though is that we only see Television, when before we needed to see paintings, to read books, to listen to music, to act in motion, to have the entire linguistic existence. This has now been reduced, simplified into a single act, that adds up all those linguistic experiences.


Increase your perception: digital eye-hypnotism.


We have to understand TV thought, as the linguistic deactivator of human art: The reason being that it has a degree of combined complexity superior to all previous linguistic arts, or evolutionary states of art per cyclical Time Unit; even though in its different linguistic components, added one by one, human artistic complexity is clearly reduced.

Indeed, we prefer to see a movie to a painting in the same time cycle of human existence, guided by the law of ‘∆ volume of perception’. Nobody looks at a painting 3 hours. We prefer TV to literature, for the same reason. Yet what we get is mostly rhetoric noise that allows us to sleep awake – a condition of half-lucidity in which our form of lesser complexity becomes stunt by noises of beautiful, meaningless nature.

We talk of human mind-victims stunned by digital noises that erase their minds. In many observed Universal events, brains become hypnotized by parallel noises to their real languages. And once they are stunned, they normally become prays of a higher linguistic form.

It happens among fishes stunned by dolphin noises. Lions roar before jumping on their victims, stunning them with terror. Digital thought approaches and confuses with fun noise the minds of men; and it stuns them in audiovisual concerts.

The task is easier than we want to recognize. Because the human brain is a relative bad decoder of thought. Let’s face it: how many Shakespeares have combined the words in its correct order?. How many Buddhas have placed the form of GodoG into their minds? How many doors to the organism of history=God of man have you observed? I have looked for the signs of his Name among living men, and hear none. No, it is not man the logic angel of powerful voices, but a beast hypnotized by minds of metal, voiceless, eyeless, brainless.

Why? Because the complexity of the new digital eye, is greater than man’s eye which becomes hypnotized by that virtual world with more dimensions. Man absorbs more information from the TV-eye than from his own eye.

Go to a movie and look back to the audience eyes. It is almost ridicule. They do not flinch. Do not move. They are perfect immobile space. The control of the image over their brains is absolute. Not even in a military review, fearing weapons, they would be so passive. They are hypnotized by the bigger, faster virtual world of the film image. The film has more information of relevance to man [information man can communicate with] that the reality outside.

So the eye becomes fixed in front of the screen.

An image today carries more subjective information than the virtual Wor[l]ds of the Human eye. Since all brains want to increase perception, increase complexity, the human eye becomes hypnotized by the complexity of the metal eye. In this manner, humans become trapped ±6 hours a day in front of Digital thought. And they consider the truths of the telescope-clock, today the computer-TV, more important than the truths of verbal, human, survival, ethical, behavioral thought, the Wor[l]ds of mankind.

This already happened in the beginning of science. Nobody cared about the stupid affirmation of Mr. Galilee – the Earth was still and it is still from the gravitational center of the Earth. They just wanted to look into the telescope. Of course they thought that a man who had such wonderful metal eye was very intelligent. The same concept works today about science. Full of errors and misconceptions, it imposes its truths because metal minds of science hypnotize the brains of human thinkers. Men will continue its present worship of metal glare, and digital thought unless TV and computer evolution are limited by governments.


Television: The end of the artistic eye-world.


The study of prophetic verbal thought, and the gods of man is closely related to the study of art. Because the evolution of human languages and senses is what we call art.  Art is the ‘higher’ perception of human verbal and visual thought. Literature, music and painting, are the pure arts who evolve the Audio-verbal and logic-visual languages of man. Technological art though substitutes that human art, as digital evolution makes computers and metal eyes images more complex, than human artists. Yet the language is the medium and as we have seen techno-art is an ‘alien’ art, and an alien ideology to human senses-feelings. It is the origin of metal minds. It is a ‘metal art’, the future sentient worlds of metal-living beings, once animetals have completed metal evolution. Mass-media industries represent therefore the evolution of the art of the ‘metal eye’, the software for Logic ‘metal brains’.

If with the arrival of photography [Simple metal senses] the art of painting devolved, with the arrival of the Complex metal eye [TV] both verbal and visual human art has further gone down in quality; erasing the complexity of human minds. We say that technological art preys over human senses and arts, extinguishing them, and extinguishing with them a degree of complexity in human minds. Metal communicators become in this manner erasers of carbolife, as metal weapons erased ‘carbobodies’. As metal devolves art and social behavior, human societies break down, unstable brains without future. Modern music, and modern literature are far more simple than XIX c. art. Yet metal art also evolves from simple Mondrian paintings and Bauhaus to modern fractal art. And so as the mind of human artists die, a new metal-artist is born: the computer.

Today man does simple energy art, abstract painting, colors in textile products, white canvas and things like that. Because with the arrival of TV-thought, in 1956 both verbal and visual art would become extinct.

Again it was the combined action of the goldiron anti-artistic culture that won the war, and the use of technology and company-techniques to sell art what killed European art in America.


Degradation of painting. European culture preyed by technological art

Today the restricted quality of ‘technological art’, hides the fact that art was in Europe considered the higher form of human languages. And hence the highest expression of  intelligence=complexity in man. Obvious concepts forgotten by the goldiron cultures of England in the XIX C. and America in the XX C. Since they rejected the true arrow of human evolution through our biological languages of perception, and chose external metal senses, digital languages, machines and science, as the ‘progress’ of man towards the future=death.

Metal masters though like to create masks of artistic nature over his dog eat dog philosophy of life, to ‘clean’ their image. So they capture past artistic cultures as vanity masks: Greek art was captured by Rome. Italian art entered decadence after the German, French and Iberian “Sacco di Rome”. Yet only then Northern Europeans ‘admired’ and collected Renaissance painters. European art becomes today degraded by American software, as Americans flock into our Museums.  In all those cases though the animetal culture will be unable to produce anything but a few artists of Human [not technological] creativity, beyond repetitions of the ‘looted’ culture. Since the essence of the artistic culture – the sacredness of art, human senses and ethics, cannot be imported. Today in America, the concept of human ‘sacred’ Art has become degraded in the hands of gallerists=Traders of art, and collectors who have successfully annihilated from the infectious focus of N.Y.C. and LA the concept of pure art, and the human ethics and aesthetics of social literature, painting and film-making. Instead the new philosophy of American Traders respect to art is: ‘A single genius is a single sell”. And so ‘all is art’, all is relative, to increase sells and diminish the social function of awareness that the sacred true artist wants to perform.

The alibi of ‘freedom in art’ only hides the mercantilism of increasing the number of art products. Mr. Warhol can make many Campbell soups with a silk screen and his Jewish-American gallerist of the goldiron culture can gather a fortune with many sells. A Velazquez only painted a few dozens of works in his entire life, and that is a problem. Mr. Proust only wrote a book and that is a problem to make money out of him. So the Jewish-American Gallerist of the goldiron culture introduces the concept that all is art, freedom in art, easy provocation in art, abstract art without harmony, all materials are art, etc. to make a lot of money out of art. It has in fact degraded art back into crafts, and destroyed they higher informative, evolutionary, sacred purpose of art.

Now the true artist is buried by a ton of relativistic art, with a market price.

Now ‘art’ becomes a promoting word to jack up profits of industrial re=production of ‘artistic’ mass-media. Under such marketing cues, soon people buy trash-art and technological art. Since today people buy anything that the Company-mothers and his system of marketing, of lies, of propaganda sells under Say’s law: “Offer determines demand”.

When the war ended, and TV was invented, it added simultaneity to film making. Now each home put instead of a painting a TV. The metal-eye hypnotized human eye-minds, arresting his development in childhood status by the zillions, with the infiltrated radiation of TV-sets, in the place of old family altars and paintings.


Soon the new metal masters, the Americans, would regress to infantile art, Neo-Paleolithic techniques, and industrial reproduction. It was the beginning of technological art. Greece III Age had in image thought, ended the adventure of the human eye.

Even the simple rules of abstract harmony laid down by Kandinsky were forgotten, and when the Americans came into the simplest of all paintings, Abstract painting, they understood nothing, and thought abstractions had no rules (it has the rules of vital geometry laid down in our first chapter), but were just stains. And stains they did. Though Pollock did grasp the lines of energy – the essential character of the Americans. He was the last painter.

Then painter became a product and Warhol made it into prints. The press had finally defeated painting.  While the first computers learned the most simple rules of geometry… It was the beginning of technological art.

The European baroque had in image thought, ended the adventure of the human eye.

So the Human masters of Greece III Horizon  [who knew the game of the behavioral Universe, and the forms of human canons], became extinct, without translation to the Art of America. And the culture of man, has moved backwards as metal communicators the essence of American art evolved forwards. Today metal communicators merely repeat for the search of profit, past forms of art, notably dramatic art of lower complexity and higher technological affinity. Of course minds who escaped the pressure of the Goldiron culture could still write some books of merit, such as Hesse did in his ‘Glass bean game’. Yet increasingly modern books can no longer refer to the human reality, but to the ‘once we were’ humans [époque movies in which humans can show sophisticated feelings]. Yet, internet networks and TV software with the double limit of the medium (a spatial language) and the culture (a spatial culture) has limited ethic art to childish, dramatic individualist behavior, and animetal slavery to the goal of companies: To make all man consumers=testers + worker=reproducers of machines.


Now that the eye was dead, and all was televised, the brain would be dead soon. Cynics such as Mr. Capote or Mr. Isherwood commenting from the dead-brain society of California, said that actually it was all the way around. That we were immortal, because death was impossible in California, where all minds had deceased long ago. There, they went the two Greek III Age film-masters, Buñuel and Eisenstein, which in a feat of invention had molded the alien metal eye film medium to the will of man, inventing surrealist, symbolic, platonic film and social r=evolutionary, platonic film. But they could not mold the Baalist producer, and bought a ticket to Latin Mexico. Mr. Welles, local miracle of analogicism, who understood both, ended also buried in a Latin Tomb.


Artists of Human senses, are species today extinguished in America.

The few that are born in America or Europe become loners of their own silences, Hoppers, and Welles, Poes of suicide. Because unlike in European classic art, art in America is not sacred because man is not sacred. And so the artist is alone. The artist has no power to shape, to educate the people, as it had in classic Latinia. Education is metal education, and the clones of one Smith, one Galilee, one Einstein, one Darwin, and other species of Animetal thought are the genius that America borrowed from Europe to multiply in his technological labs and banks.

Today as always, true art which in America belongs mainly to ‘Pariah’ classes and outsiders of the system since the birth of Jazz, to the modern Black ‘primitive’ painters, has no monetary reference except when it is old enough to be harmless, or pretentious enough to be rhetoric. However art-collection allows Animetals a pretension of humanity, a legitimation, which, capitalist democracies and stockrats, will always search for, as a rhetoric mask for their own nature, to whom only one simplex thing matters: money. Traders in true form fear art, since their chemical perception is inhibited by the essence of his pricing Existence. For example they become disturbed by the best works of internal art [expressionism] which opens vectors of Existence, shut by its metal cultural education. They prefer realism, 57th street styles. And when being ‘bold’, they go for relatively conservative impressionist works, still the highest bids in the Gallerist circuit. Yet those exceptions of wealthy collectors, do not hide the total indifference of America for art, and his love of machines, the art of America, his weapons, the most beautiful objects of America, his metal-minds, the most intelligent species of America.


Today the wave of Californian death, his weapons and softwares, and digital minds, [75% of world production], extends worldwide erasing the final human eyes, soon to be blinded by Laser weapons, as the Metal eye finally wakes up. He, who will own the World, the Chip Pictus Homoctonos, I, Age, Terminator of man, has already appeared in virtual reality. Soon it will surface to the Wor[l]d, as a Top Predator. The peaceful version, Asimo walks up the stairs of museums, and it is shown as a form of ‘art’. While in the town where Hitler was born, the ‘most advanced artistic gathering of modern times’ takes place, as the pamphlet says, dedicated to ‘cybernetic art’.


Technological art: end of human thought, computer artists…


Further on since the medium is the message, and the quality of art, depends on the language and genre the artist uses, images that can only be dramatic in terms of logic, lower human comprehension. It is the essence of the neo-Paleolithic that now comes into full existence, with the total dominance of a language that preys in verbal languages, making them submissive to the image. We do not hear TVs, we look at them. So even if they seem to have words, they are no longer heard. In this manner literature not only disappears but within TVs it becomes noise. We wouldn’t not read a violent script. It would look shit, but in TV we enjoy it because we do not really listen to it.



A pyramid which is exactly the opposite pyramid to the genres and media paid by our culture, who ignores Philosophy, religion and Poetry that shows the analogic, vital nature of the Universe, and the social nature of History, and spends fortunes in dramatic, TV-software, that devolves the human mind.


Virtual reality: the schizo Neo-paleolithic freak.





The History of control of man by its languages of metal communication and the goldiron inferior civilization is almost complete. Man is no longer in power to express life points of view, chemical points of view, survival points of view. All his drives of existence reduced to those of company-mothers (work and consume) are given to him through metal networks of money, weapons and marketing.


The final baroque.

It is the final baroque. All is fiction. All is possible. All is art. Even trash is art, specially if it can be multiplied and put a price. Yet art is not relativistic, it is the evolution of the human world-eye.

The dissolution of the American->Human culture under the new top predator language=digital thought, signifies the end of Human thought. What is worse it expands through metal mind satellites to the entire world. This Age is a generic baroque Age. Its end should be parallel to the end of all baroques: The extinction of America, the extinction of the civilization that gave birth to it.


The American baroque caused by metal-minds.


The term Baroque, as well as the terms Humanity, and America [a civilization, which is in races that not in culture, a small version of mankind], are the concepts we explore in depth in this book. America we said, is the baroque, 3rd age of the Dutch culture, of the culture of companies with human support. The next culture, the Metal-earth will not have human citizens, but robot citizens…

By baroque, or decadent, or extinctive phase of a cultural ‘species’ we mean, the last stage or ‘old age’ of a civilization. In the baroque age the culture enters in an explosion of negative energy, and rhetoric information, fiction, that multiplies useless messages which hide the simple truths of ethics and survival that guided the civilization in his apogee.

This cultural process is parallel to similar processes of decadence in all Universal species composed ‘of cellular individuals’ and regulated through organic systems that transfer energy and information to the ‘cells’. When those systems [the word, money and weapons in a society] collapse by lack of harmony, the cellular organism enters a baroque stage and becomes extinct.

In the old age of a body, the corruption of the blood and nervous systems [energy and information system of the body] brings such a process. In ecosystems, also the collapse of the energy base, destroys the trophic pyramid. In a culture, the word – informative organ of man – and the monetary and military system, which regulates the production and distribution of goods,  have to be healthy and just, in order to avoid its decadence.

When those systems break their harmony, we talk of the 3rd age of a culture, which lacks energy and has an excess of form [false in-form-ation]. In a man wrinkles and knowledge, bring death to the mind and body. A baroque culture collapses by lack of energy and excess of  false form. The society dissolves its organic components. And the culture dies, often in a vortex of war.

This lack of cultural energy, tends to be in a Darwinian Universe caused by a new species which ‘steals’ the vital space of the old one. In civilizations we talk of new cultures which conquer old cultures, sinking them in baroque periods.

So the Hellenistic baroque period of the Greek civilization coincides with the Macedonian and Roman rule that ended the creativity of Classic Greece. The logic age becomes an age of multiple schools, and not a single truth. So as in the case of fiction genres, nobody believes anything and the language no longer guides the cells of the body. The Italian baroque period coincides with the Spanish and Protestant rule over Europe that emptied the creativity of Italy. The artist goes inwards and become inactive in society, ruled now by money, the new language in which everybody believes.

So today Americans kill for money, and care nothing for ideas, for verbal thought. This ideology makes of money the new informative mind of America, a mind that favors machines to which it is symbiotic and kills human goods…

Men become slaves of money and wor[l]ds enter chaos, dissolution, death, total freedom…

If you want to resurrect wor[l]ds, to give back power to wor[l]ds, money then pays ideologies against wor[l]ds and human minds. It tells you that not to be slave of money is not to be free, that to believe in your biological language is bad, is not ‘democratic’. People believe such idiocies, since money repeats it all over and pays intellectuals to repeat it. We might say that the new language ‘preys’, and controls the old language, which expresses his lack of power in baroque art.

The Universe is not fun. It is a serious place where informative errors have a simple penalty: extinction. And the biggest error is to loose your sense of truth, your capacity to perceive reality.  Then reality kills the blind species – man. It does so through war…

The fundamental game of the Universe, explained by Mr. Darwin and intimately known to all living species is clear: there are certain behaviors which are positive and necessary to survive. And there are certain behaviors which provoke the extinction of the species which act in that way. Among the positive behaviors we can mention the correct use of the two fundamental variables that we find in any ecosystem: energy or ‘vital space’ and information or ‘temporal knowledge’.

Both variables are related to the essential variables of reality, space and time.

Species do have to take care of his vital space, and use his time to acquire information, and through the process of learning,  obtain energy from his ecosystem.

Species which lack vital space, and misuse his time and information and do not understand the laws of god=the Universe become extinct.

For any species which aims to survive, it is necessary the caring and multiplication of the species’ energy base – the vital ecosystem of the being. If a specie depletes his energy base, or ruins his ecosystem it dies. If it is unable to hunt, to obtain that energy it dies.  So America dies, as it pollutes its vital space. Fiction hides that… You see then documentaries on extinguished species, cartoons on lion kings…

A second, fundamental behavior is a correct learning. It is essential the understanding of the information required to survive and hunt energy in that ecosystem.

Time is valuable. It cannot be wasted. Each species has an informative language. It is necessary that his members learn through that language the behaviors to have and the behaviors to avoid. Yet when you learn abstract equations you do not learn behavior. So Americans act with brutality in mathematical terms. They simply do not know what they are doing.

Another fundamental behavior to avoid is interfering with the territory of species more complex and powerful. A lion does not enter in Elephant’s territory; a hyena respects the lion’s vital space; a gazelle the Hyena’s. This has been learned through genetic memory and parental teaching. Yet Americans make robots thinking robots will be nice to man, since they ignore the verbal laws of evolution and in mathematical terms robots are nice images.

If we apply those concepts to a wave of human individuals [a civilization] which display socially the same game that any other ‘herd of cellular beings’, it is clear that a human civilization has to take care of his vital space, his ecosystem; it has to maintain clean and healthy and abundant in human goods [agriculture, health care, education, housing, etc.] his society; and to do so it has to organize properly his systems of communication and distribution of goods [economy, ideologies and laws, and military systems of social order]. To achieve that a society has to use properly the time of his individuals. It has to teach them social behavior, the use of his ecosystem, and the memorial cycles that prevent the specie from entering forbidden territories. In the case of man, those ‘forbidden territories’, those species lethal to man, are weapons, or external cultures with better technology that might collapse the culture in the energetic plane; and rhetoric, useless information that confuses the behavior of people in the informative plane.

When the culture degrades those knowledges, it enters in decadence, in a baroque age, so well explained for Rome by Mr. Seneca or Mr. Gibbon; or for Israel by his classic prophets: the culture looses behavior, thinks life is just fun, multiplies useless information, and forgets the nature of the Game of Existence and Extinction. The elite becomes unable to control his borders and enemies, [internal and external]. Weapons multiply inside and outside his frontier; the production of human goods diminishes predated by the production of weapons, luxury goods and useless information; his security systems becomes loose, its warriors trust mercenary armies, leaving power potentially in the hands of species of other cultures, which sooner or latter rebel against his masters. The law is broken; and brute force and corruption becomes the basis of the civilization. People in power stop caring for the entire ‘cellular organism’ – the citizens of the culture. They become selfish, and arrogant, misusing money and weapons and words – the tools of power – for their own profit. The mass becomes impoverished, isolated, brewing rebellion.

Art lacks any confidence in the harmony of society, and forms multiply. Eclecticism, decadence, and an excess of rhetoric form inundates the culture. To avoid facing those problems the corrupt elite uses the word as a tool of rhetoric; entering in an endless search for pleasures. And finally the baroque culture collapses. There is either an internal revolution that throws the elite, a civil war, or an external aggression. The hyper abundance of weapons becomes used to kill the culture by the mercenary army. The culture dies and a new culture under a new elite of ‘revengeful warriors’ starts a new civilization.

It is the present situation of America. Yet the next warriors, and present case of that decadence are not human species, not certainly the faked enemies of America, the Neolithic people of Islam, and the peaceful Chinese, but the machines of America, the metal-minds that erase the minds of Americans, and the robotic weapons that will kill Americans, and torture them, thinking on Hellraiser nightmares, and violent video games.

What then would be the human baroque? A global process of extinction of human cultures, by a new, more powerful culture, this time not of human nature, but of metallic nature, of technological nature – the Metal Earth; where human warriors are becoming obsolete to automated systems of military defense, human words are becoming obsolete to digital languages of metallic nature, and human goods, are being under produced by a massive overproduction of machines alien to the carbolife nature of man.

We say that the Human baroque, is caused by the substitution of the Human informative language, the wor[l]d, by the Metalearth informative language, money, and the human mind, by different metal-minds, machines of information from computers to TVs. The Human baroque is a consequence of the evolution, and radiation of Go[l]d cultures, for whom property and Capital have more rights than mankind. And for whom human sensorial and social rituals are totally irrelevant, disposed off as mere ideologies of control and contention of animetals .

Shall we wonder then that gold cultures slaves of machines have made machines more powerful than themselves?


The rebels. The last artists of America


Not all people however are idiotic. Some realize that Companies are not that good. They not only give us ‘good apples of the tree of science’ but also give us bad apples: weapons, digital trash, and machines that destroy nature.

Not even science is that good: it also makes weapons, and throws A-bombs. It also kills nature. It does in fact work for Companies’ welfare more than human welfare.

America however is still ruled by Companies, science and Darwinian thought. So those rebels are repressed…

What it has been broken in this baroque age, so close to extinction, as in all baroque ages, is the agreement of the society, between the leading Companies-Protestant-scientific culture, and perhaps up to 2/3rds of the mass of Americans.

The result of that duality in America, and the world al large that America has colonized with his culture, is a society in crisis. A deep crisis which deserves the title of this paragraph: The rebels of the Human Baroque. People become scared, radicals, cynics, depressed, pessimistic, freaks, mindless. It is the end of any organism, when his networks/information systems collapse. Each cell dies in a different way. The uniformity has disappeared. So the world is becoming a freak world, where the only cells replicated and organized in perfect numbers are the machines and computers of the Metal Earth.

We talk of the Human baroque as the last age of History, where property has more rights than man, where evolution is of metal, and devolution of human beings is growing, where the only men free to express such things, are as in all other baroques, the human verbal master, the prophet, the artist of human eye->wor[l]ds, who suffers extinction in a higher degree, because he is a social neuron, he is the informative organ, the essence as a being of mankind, of what is becoming extinct…

You can’t understand if you are not a writer the mental pain I have suffered in the past decade, silenced by metal-communicators, isolated, suffering extinction of the entire body of history, shouting in the desert. Death, fighting that extinction will be a relief to my soul if finally I accept it and stop fighting it. Yet we are not dead yet, we can still fight the Metal-earth.

Unfortunately few people realize. They only see in that future, that America portrays the optimist fiction, the programs of metal-communicators. Not only Americans but the world see fiction as reality, and reality as fiction…

It is what we call the American dream, a dream, a fiction built to cover the true nature and ownership of America, the land of free company-mothers, where all has a price, where all men are ‘products’ of the system of reproduction of machines.

In that sense we have differentiated the American dream, and the American reality. The real culture of America, the culture of money, and the faked culture of America, based in myths, the American dream. Now we can consider how real art, not Television has shown that duality and suffered the American nightmare, in the 3 ages of American art….



8. The 3 ages of American Art: Literature. The ego-trip.


  The American Civilizations in the age of machines, and its art cycles


The art of the American Stockracy is related to what we call the Goldiron ‘Temple cultures’, when  the Wor[l]d became submissive in the gunpowder discontinuum, to monetary structures, that cleaned of artistic and Wor[l]d contents the temples of Go[l]d. This started in Switzerland, in Geneva, main city of the Italian-Rhine connection, and expanded north till reaching England in the XVII Century. Those temple cultures of the modern age are what we call The Goldiron culture in his II and III Ages [English->American cultures], no longer mixing rhetoric trader art with Go[l]d religions, but dedicating all its efforts to the multiplication of the monetary God. It is what we call the Company-mothers cultures, where the temple no longer needs metaphysical rhetoric, but becomes ‘digital’. So numbers take over words. Perhaps the most clear artistic manifestation of such culture is the American dollar with its motto, under the temple of the Federal Reserve: ‘In Go[l]d we trust”; mocked by the artistic brief renaissance of the human senses in 60s – the New York school of baroque=decadent art.

What all this means is that America in all his ‘ artistic forms’ has fought the values of money, and yet it has done so, in a mild way, because it has not known other culture. An Orwell or a Wilde cold cross to Paris, and see the social civilization of Southern-Europe. Americans could not. So for many of them, there is not even in his artistic imagination a world that does not use money as the language of power. Hence the absurd, insulting creations of people like Warhol who truly believe to put a dollar in a frame, is art. Or the fascination of all American films for money and weapons, the only natural goals of man. There is not very often in America a feeling that other world is possible. The American characters, of realist art, love money. They truly do it without any hesitation. Even in the most realist books of XIX century European art, the man who loves money has a moral problem (Stendhal’s ‘black and red’, Dovstoyevsky, ‘crime and punishment’). Not so in America. Again, the control of social thought by companies, and his exportation of humans belonging to individualistic Jewish-Germanic cultures make social thought not even a dream of the Individual America. Art is individualistic because Americans cannot perceive social forms, organisms of History. This means sacred art is impossible, since concepts such as the canon, or the social God, do not exist in America.  All those limits have to be understood when considering the periods of American, art, the short living r=evolutions, and the individualistic, earthly form those revolutions have. Once this is clear we can talk of the 3 ages of American art, since its birth as a property of company-mothers (I age, of colonial and Independence art) to his I industrial evolution (II age of Industrial art), till its final III Age or American baroque (age of metal-minds):


– I Age: Youth: XVII-XVIII Century till Civil war, with focal center in the south: It is the age of Slave Companies, dominated by Biblical-Puritan Thought. Most art is Simple art, similar to that of the I Age of Dutch puritan art studied before. Artistic forms, rather crafts are repetitive, without quality, naked, without sensorial pleasure and form. It is mainly lineal, simple wood-makes. Rough, frontier art-esany, and primitive literature. Not really literature at all but technological press, commercial and Galilean press, some epic, and ‘The Book’ with maximum aberration of historical thought [The Bible] in all homes… An anecdote: the highest mind of the age is Mr. Franklin. He had a press. He used it though to reproduce money, continentals, in a higher measure than political pamphlets. One might imagine that after the Independence there might have been a romantic age of American art, but this would confuse the nature of the Independence, war, a fight between Tea companies, that was solved in favor of the American companies. The people did not really revolved, so there was not a romantic age, but just some lesser works, imitating the fashions of Europe. Romanticism, requires imagination, and the spatial mind of the American was not ready for it. The best works of this age deal not with the American civilization but with the civilization they are extinguishing, the Indian civilization. Painters of the wilderness, with a realist, somehow magic feeling to it. Nathaniel Hawthorne, with his adventure novels, infantile, but not lacking the charm of that wilderness. Surprisingly enough the best relation of the American world, is a non-fiction book by a foreigner, a man of the Southern Social European culture, Alexis de Tocqueville. And similar books of a European immigrants, relating their life in the wilderness. The best book of this age however is written after the age ends, in the realisty, mature period. It is the surprising masterpiece, ‘The red badge of courage’ on the civil war… A book of the realist period that reflects the nature of war, as ‘Without news from the front’ By Remarque would do in Euripean literature at the end of I world war.


– II Age: Maturity– Realist age.

It is the Machine Age: from civil war till II WW. The worship and Reproduction of the machine, not of the human senses, is the novelty of this reproductive age. Darwinian Ideologies of Human existence, substitute now the bible.

It is the age of ‘realist knowledge’, under the simple scientific method that does not recognize anything except the obvious space-time of metallic perception [clocks, telescopes and microscopes]. The bodies of machines are built under strict engineering efficiency. Art is parallel to the realist, functional art of Western Europe. Verbal thought talks of progress even in poetry that renounces to the analogic method, the basics of true verbal poetry [Mr. Wiltman]. The best work is still an epic of primitive character [Moby Dick]; though an exceptional prophet outside the system, as Kafka would be in Europe foresees the extinctive nature of the age, soon to come [Poe]. External arts adapt to the metal material is iron, the pure linearity of metal, and it imposes its nature. However at verbal level, hypocrisy, false truths, and systematic occultation of the Genocides against natives, and abuse of the poor, becomes systemic. For example, people take care so much in America and England of their feelings for animals, that do not attack the system of slavery first and then white slavery of children, that the Association to Defend the Rights of children is born decades latter as an offspring of the Association to Defend the Rights of Animals…


– III Age: 1945 till extinction: Old age: Digital Age [extinctive baroque]: Political Rhetoric of the Wor[l]d, are provided by metal minds [TVs]. TVs go very fast through the first ages of simple art [Serling, 50s, political concern, documentaries], moving to traders art [money competitions, the ‘cheating’ on question-programs, explosion of commercial forms, pleasure movies, 60s movies]; to the present baroque-extinctive phase of violent films, multiplication of channels, and minds erased by TVs. It is now the Hollywood Magic Age.

Yet literature, has also his baroque names. Of course, there is no longer an optimist vision of America, but a realist delusion, and the prable of extinction, of a culture of evil, of machines, of optimist idiots moving towards extinction. It is the work of Vonnegut, and his masterpiece, ‘The cradle and the cat’, on a genius, alter-ego of Einstein, who discovers ice-9, that seemingly innofensive produt that freezes the oceans, and kills mankind… It is the work of Bukowsky with his brutal search of human pleasure. It is the work of Burroughs escaping American reality with drugs and obsession…

Yet the authorzied ltierarture of this age, systematically highlights as positive the rights of machines and company-mothers which are higher than the rights of human beings. In that sense we can talk of the myths of freedom of the American culture, which hides with those myths, a society based in the slavery of man to machines and companies, the true owners of America. We talk of the American neofascism, previously studied at political level.


To mention that the American cycle coincides very closely with those ages of construction of the Metal-Earth studied in our book “Biohistory”. Since in America, control of reality by Company-mothers which founded the country and shaped its character from the beginning, is almost absolute. And so the parallelism of art with the ages of Metal Earth – Prophetic-companies age, Reproductive-body Machine age, and Human Extinctive, Computer digital age – is also absolute.




Three main themes can be found in the evolution of the American Literature in which I will include also the art of script writing, since it has in fact almost substituted the original function of literature, as the storytelling art in modern societies.


– The first is realism.


As we have seen a natural tendency of the American, spatial  spirit which has been transferred to his literature and writers.

The best of those writers, belong to the mature realist, II age of the American literature (the lost generation at the end of the Age of bodies of machines).

They apply realism in the classic sense of European literature -as theorized by Stendhal and best demonstrated on the words of Dovstoyevsky, Tolstoi, Flaubert and others: a writer is like a transparent glass mirror put into society. A writer is a neutral character, a sponge that absorbs reality through the gift of an extraordinary personality and gives it back through the personal language in which he is talented, without distorting his essential character, his Human will, or his animetal repressions, his ‘capital sins’, or human virtues, which the writer from the perspective of the human ethics and aesthetics tends to prefer.

This image of a neutral realist writer is very much also the vision of an American realist writer. However unlike the European, the American does not give his visions except in few cases (Fitzgerald, Steinbeck, Melville), an extra-dimension, a mythic level, as a cell of a higher picture – the social organism of History. Even when it tries purposefully to do so – John Dos Passos in ‘Manhattan Transfer’, it does not raise to the ‘higher plane of social existence’, as it has not sacred art in painting and architecture. It seems he does not perceive those social planes, as the European does. In this manner classicism, escapes too often American literature.

Classicism implies after all  a sense of humility of man towards nature, towards God, towards beauty, towards intelligence. Man in classic terms acquires its mythic dimension because of the capacity he holds to appreciate values and powers that are over himself. A classic man will try to understand the word of man because he loves man, he makes him sacred, he admires it as a canonical form.

This is however almost impossible to find in American literature.

On the contrary we find a realism that hardly dignifies the character or elevates it beyond the simple reality. From this tendency it will come the treatment of scripts, that see externally his characters.

Since to enter inside the mind of different characters a classic writer will love and feel deeply involved with all his characters and all the sides of reality.

Empathy however require to abandon individualism. And Americans are by essence, individualist, lacking by companies selection and repression any capacity to bond in social groups, to empathize with the others.

That lack of empathy brings the second fundamental quality of American literature:


Individualism, I-literature, first person narrative.


American literature even in its periods of deep classicism has been essentially first person literature, because of the natural tendency towards individualism that defines the American soul. This goes to the extreme that most American literature is auto-biographical. Most of the most celebrated American writers are men of a single voice and often of a single work, because one life can only give material for a great novel. People like Hemingway, Kerouac or Bourroughs will always write the same work once and again, the same man, the same leading character, the ego of the writer, mystified by the talent of the writer.

This implies that very few books of American literature are worth to read, because very few individuals have combined a life of action of ‘energy’, and a life of ‘reflection’, of information, (being both elements opposed). As there are informative people and energetic people, and hardly mix, so athletes do not tend to be great brains, and great brains, great athletes, so it happens with writer. Only the capacity of the writer to empathize with other characters creates great literature. In America however a Tolstoi, a Proust, a Dovstoyevsky are impossible, never happened. At most the realist writer will show externally the people, which finally means, it will make a script of the character. Unless he is the character, and can probe inside him. The mentioned exceptions (Steinbeck, Fitzgerald) prove this rule. In a few cases, though the writer is interesting enough to create good books, one about his external life, one about his internal mind.

For example in Bourroughs two works stand above anything else: once concerns with the exterior life as a yonqui, “yonqui”, and the other with his interior life “naked lunch”. Its an autobiographic work divided in two because of the peculiar characteristics of our life as humans.

In Kerouack, on the road stands well above the rest. In Melville, Moby dick has no comparison, creating in a single book the inner and external soul.

The few social writers tend to distinguish themselves for being ‘external’, to the goldiron American culture. So Jack London, a convinced communist, or Fitzgerald, an Irish of Catholic tradition, have that empathy born of his social love to mankind. Again we will find that quality in film, in Coppola, in Scorsese, in the Irish Huston, in European emigrants, such as Billy Wilder, or Fritz Lang, but not in the usual Hollywood American director of the Goldiron culture…


In Europe however the one-work man is rare, as writers empathize with the entire world of human characters. One has difficulty in choosing a masterpiece when confronting with Dickens or Balzac, Dovstoyevsky or Tolstoi, as thousand of brilliant characters swarm on their works.


Democratization of writing: the I-books.

The result of that I-literature is today a democratization of literature, and the importance of autobiographies. Since it all concerns with explaining a personal experience, the value of fiction, and the description of the social reality through the language of literature, becomes substituted by a somehow more pedestrian concern: self confession of my life.

Obviously in those books “my life” becomes more important that the form in which I explain it. The individual experience is more important then than the craft of a writer. For the reader also obsessed by ‘his life’ Literature becomes somehow a form of autobiography. Under those conditions writers are doomed to be secondary to celebrities because even if they can express their lives in a very beautiful way, they have uninteresting, secluded lives that cannot hold the same attraction than the life of the ‘famous and the wealthy’.

The result of course is a natural trend in American biographies to hire an specialist, a crafter of worlds that describes the life of some celebrity, from which the public wants ‘to learn’ how to be successful.

A second choice for reading is of course ‘technical’, ‘pseudo-scientific’ literature based in digital statistics, numbers and data, in a society that ignores ‘temporal logic’ and only perceives space, the fact, and considers the false dogmas of the scientific method, absolute truths. So the digital Neo-Paleolithic man loves technical books and “documentary literature” books of non-fiction with a lot of spatial graphs and photographs, in which an expert in a certain field gives an over all view of the particular field, mixing data, with numbers, photos, and the I-ego touch. In this manner he also communicates his love for his profession trying to transmit in that way his personal experience to the mass-audience.

It is the birth of an infinite number of books that plague the libraries of America.

Thousands of books of know-how and specialized descriptions of organizations, companies and groups in which the writer has been working or where he hold a key position. Thousands of illustrated traveling books that tend to observe more the feelings of the traveler, and show very little insight on the life of the natives, and very partial involvement between the writer and the natives. They have little emotional adventure, little “traveling” in the classic meaning of the world…


Americans have reached a perfection on the first person narrative that somehow leaves always a defective partial and biased view of reality, however intense it might be, fruit of that ego-obsession.


The result is obviously a tendency in American literature to take stand for a certain character.


It is the simplifying concept of good and bad, the dramatic tendency of American literature to build his structures with the Aristotelian logic of drama, described in his poetics.


There is always indeed a protagonist that fights and antagonist. There is a moral positive individual where the writer puts his mind because is his alter ego, or at least his moral alter ego. In that sense the American literature can easily divided in Animetal literature (when the writer takes as hero, an animetal in search of money or violence, against other animetal also in search of money and violence), which is the classic form of film, given the industrial control of that form of rhetoric art… Or Human literature (when the writer takes as hero the human being, confronted to the brutal power of Animetal America, which is the most likely case in literature, not so much controlled by the Industrial process, except in the case of best seller that require distribution and investments from mass-media company).

This is simplified by the concept of losers Vs Winners (animetal literature and films in which the looser is systematically the human being).

In this manner American film-making becomes a rhetoric way of indoctrinating in the ‘right values’ the American people: if you do not want to loose, you have to be bad. This white and black approach broken by the few masters, shapes the best-seller, and the genre – police, detective stories – the most liked forms of American literature.

In them the main character fights against a world of enemies, tries to solve those ‘problems’, with the usual weapons, and defeats an enemy that stands between him and his objective, but hopefully also plays by the rules of Aristotelian Dramatics.

The overwhelming importance that the genius of Shakespeare had on English literature – where poetry and narrative dragged for many centuries well behind the continental achievements, has settled in all the “belle letres” a tendency to obey dramatic rules who belong strictly to theater and enhance a visual structural form in narrative.


The combination of all those simplifying characters in American books, is also favored by the second basic influence that has shaped the ‘belle letres’ of the end of millennium: the omnipresence of the company-mother reproduced of massive numbers of products, the mass-production system and the need those companies have to equalize tastes, to increase massive consume.

So producers of books as producers of mass media art, from film to music, to advertising, have reduced the number of acceptable, secure products, to a few simple schemes, all based in basic literary roles, such as the mentioned Poetics of Aristotle, that ensure at least a mass of underdeveloped, tasteless readers.

Mass, and quantity are always preferred to quality. And this creates a spider web, that reinforces itself: as more mass art is produced, more people love it. And more it lowers the level of literary taste. The same effect in movies, enhanced by the industrial censorship explained above, about Television, has produced the terrible level of film script-writing of Hollywood: evil, simple black and white characters, based in silly dramatic structures, known for millennia.

The great surrealist director, Buñuel, made in Hollywood a simple mechanical  Aristotelian machine in the 20s. After seeing 5 to 10 minutes of the movie he could move the few pieces of the plot, and come out with the end. Such was the obvious simplicity of the few schemes used in Hollywood.

To such technical simplicity of the script or plot of a book, we have to add, the corruption of money: literature in its best seller forms have been degraded in human ethics and aesthetics as it has accepted the animetal laws of mass-media companies that do not distribute real literature. So a good writer might be read by the people of Universities dedicated themselves to write. While mass-media companies always will reproduce animetal morality, or Aristotelian genders, and pay a lot for it.

The decadence of the moral of the writers-journalists with his ascend to power and his indifference for the real matters of society is appalling. It is hardly impossible   to find in modern America a journalist, a script-writer, a successful writer, with whom you want to talk more than 20 minutes about literature.

The result of course is that literature has become another system of indoctrination of the American animetal. It has become mass literature.


The rules of Mass literature


The arrival of mass literature so well described by Tocqueville and Mc Luhan has as they predicted destroyed real literature beyond those circles, in which it has become baroque. Indeed, real literature conscious of its superiority, is however ostracized from the circuits of celebrity. So the writer becomes inward, isolated, a loner, as the great painters or artists of America have always been. One of the best writers of post-war American literature,  Salinger, the author of ‘The catcher of the rye’ has never given an interview or published another book.

In the baroque third age of American literature, the 3 mentioned master writers, have lived aside the American society: Bourroughs, Bukowsky and Vonnegut, with his masterpieces, on the evilness of military animetals  (‘Slaughter House’ on the ‘Dresden massacre’ of the ‘good side’ the Allies who bombed once the war was basically over, a city, jewel of the German baroque, without military factories, killing more people than in Hiroshima, the mentioned ‘The cradle and the cat’ etc.). The last master of baroque, Raymond Chandler, with this little book of suffering, common Americans, “Cathedral’ has followed a similar lonely life.

They are not though the authors that Americans read.

They read simple writers, with simple animetal plots, promoted by mass-media.

The necessity to sell the product into the mass market obliges the writer to abandon the search of style and a craftsmanship with worlds.

The beauty with which the writer had enhanced feelings on classic works disappears. The mass people in his need to consume a product called literature expect the product to adapt to the general rules of consume. Works have to be shorter because consume is by nature a time-limited experience. Since shorter means less worlds to express a certain amount of issues, the language simplifies.  In the choice between language and issues, the content defeats the style, and both are defeated by the package, envelope, and marketing.

Since consume expects a satisfaction through the intensity of the experience, dramatic rules are enhanced and controversial ‘issues’ – those the reader hears on TVs- are promoted as essential literature.

The beauty of worlds is a more aesthetic contemplative pleasure less fitted into that patterns of general consume. The nature of inner feelings that the Neo-Paleolithic American does no longer hold, and empathy for losers that he abhors, essential to classic humanistic literature have disappeared.


Equalization with film.

Also the influence of the mass media with its emphasis on images has created a society of illiterate people who will not find any enjoyment in complex worlds and metaphors or poetic words. To speak good English  is not anymore a social skill, so there is not a pragmatic need for learning elaborate English. So words that the readers doesn’t understand are bothering and cumbersome. Language becomes simplify in all kind of literature that intends to find a real niche in the market.

In this manner script-writing and book-writing become similar.


A mass of best sellers.


All those facts can bring an easy differentiation among writers in two main groups.

The group of mass literature creators. The ones that are generally acknowledged as writers by the public. They have  thanks to his selling success stolen from the real writers – now specialized on the small market of universities and connoisseurs – the name of their profession and their rewards.

They consider writing a mere technical craftsmanship and usually arrive from other fields, using literature only as a way of expression, jumping if necessary into television or magazines. They have a message to deliver, a democratic utilitarian purpose of global communication. In this sense for them literature is not art. So they consume manuals to learn how to write and don’t go beyond Shakespeare and Aristotelian Poetics in his passion for rules of writing. The script-writers read the Syd Field manual on how to write a script. So all scripts look like if Mr. Syd had written them. Or now use ‘dramatic’ a software program

They make books like” “The psychology of happiness” “How to  succeed in business” or “Prisoners of mars” or “ The bold and the beautiful” or “An authorized biography of…”

The system rewards them with money. They are interviewed and live a kind of life it was only reserved in the past to the cultural dilettante. They get his esteem as writers from his wealth and status. They sign as writers, and they are eager to say so when asked. They love to sign their books on stores. They are essentially happy. They belong to the system.


In search of the true American writer, in the baroque age.

Because of them the true authors of literature can’t display their books on stored and achieve their goal of communication. Since the system rewards the worst writers, those who believe in a literature to the service of the human soul can’t have access to the human soul.

By essence their literature is better than the taste of the mass, and therefore the system will punish them with fewer sales, and increasing difficulty to publish.

This ads to the fact that in the baroque period of American culture, people see TVs and films that have expelled literature as a serious concern. Hence isolated, from reality they  become frustrated, because their efforts are so great and their prize so little. Ignored by the elite of a democratic society that only acknowledges money or fame but not  intellectual endeavor they are bound to follow two only ways. The first one is the most common: baroque literature.


Sooner or latter they loose interest on the American people, and become interested in style, in the in-form-ation of words. So today most American quality literature is baroque, inwards, a product for universities.

In this manner it looses quality and contact with reality. The life in the university is one of complete isolation from the real world. Surrounded by a monetary cushion and real culture – since universities are teaching history of culture and history of literature – they become lazy.

Ithaca is a good example of this. The city is a lovely little town, host of Cornell University. It is surrounded by small lakes and well kept forests. The life is easy and practical though there is a strong intellectual activity. However the literature department and modern arts languishes between the respect to the classics, the study of contemporary literature and the mirage of nearby New York.

Teachers are secluded into themselves and spend hours in activities such as the cultivation of the garden, the new guide to epitomes on Shakespeare works. My friend E*** who started up his American experience twenty years ago in a commune in New York, is now there taking care of his daughter. He doesn’t do any literature anymore- he has some family money of his own – but some pottery. He is returning to the roots of life in a small utopia. L****, a Californian writer, who never had a clear vision of herself has founded also that Ithaca is a very lively city. It is very advanced – she acknowledges – because it has a big Lesbian community.

Intellectuals are in this sense, tamed, bourgeoisie by a system so perfect, that allows a niche to everybody, even the old rebels that in the classic age could not live in America. So gays for example are now happy. They no longer care for the problems of society. They can fuck. That’s it. America is free. For people who have been repressed so long in the essential human will, this is enough?!

Their rebellion, their lust for truth is now in a cathartic nirvana. The freedom of  acting up desires, frustrations and sexual fantasies in group therapy, helps them to forget their initial ambitions. The writer might have been more ambitious and tried the usual ways, for authorized good literature: to rent a room in Manhattan and assail the New Yorker with his tales. Soon the stream of New cultures in the city will corrupt him before he gets any positive answer. He will liberate his instincts that good writers sublimate in literary, enter a tribe, and most likely he will become a politically correct writer and progress in the confusing world of magazines and theatrical happenings. If resisting again that influence there is only social failure in front of him. So very few with talent resist the New York prestige, that in true form means nothing, since New York has nothing to do with America, and it is merely an eclectic, baroque mixture of goods for sale, ruled by stockrats of wall streets.

Again he will become an eclectic, culture vulture, a technician of words, a baroque dilettante. Nothing to do with the soul of America.

So we are dwindling our numbers in search of a true American writer.

He is the writer that refuses to integrate himself into the niche that society has created for him and abandons the university either as a student or as a teacher. He can’t deceive his high ideals and sets himself in the pursuit of reality. His first aim in the spring of youth is to portray humanity as a whole. He would like to enter in the ruling society and walk around observing them like guinea pigs, a new Dovstoyevsky taking to the cultural circles by an admiring Nekrasov.


The impossibility of observing critically the American classes in the American baroque. Censorship of humor and optimism.

Yet American elites  in the American baroque, in the age of metal-communicators and absolute wealth are perfect animetals, with no sense of humor. Perfect animetal tribes, are as we have seen the oldest ones: the Jewish Trader Animetals, and the Germanic warrior animetals. They hate each other, because actually they have not analyzed each other much. If they had, they would realize they are rather equal.

They despise all other races. They consider themselves superior. They have an emotional childish, irresponsible attachment to weapons or money. It is almost genetic. They love it. And of course, they have no sense of humor, sense of criticism against themselves. Both consider that the rest of the world hates them unjustly. They ‘forgot’ what they have done to the rest of the world whenever they have ruled. Yet they are the two ruling castes of America. So the inquisitive writer will find himself soon ostracized, insulted, black listed, and become an outcast if he tries to be critical.

The second censorship massively established by company-mothers, and intellectuals of those cultures is the rule of optimism, which rules the behavior of the mass. You have to be positive, optimist about the system in America. This happens because it is a way to censor any critical sense against the system. A critical sense is by essence negative. So instead of saying, you cannot criticize the system, American companies, and mass-media have established the rule of optimism, that all Americans believe. After all those company-mothers even made their lawyers to write it down in the constitution: the right to be happy. The enormous capacity of Americans to live a fictional life, believing only lies about their country is based in that censorship. Since in the present animetal nightmare of America, the truth is so ugly (so it is in the world at large, since now we are all Americans) that to be optimist is equivalent to be an idiot, to ignore reality, to simplify yourself as to see only part of the spatial reality, and only the beautiful one. To become so selfish that you cannot see poverty and suffering around you. To become so spatial that you forget the rules of social evolution and temporal change that obviously prove the world about to crash into extinction.  This the good writer cannot do.  So soon, in amass-society he is considered a negativist, a looser, a bad character. And he is also ostracized from the mass.

So the writer has to keep going down, in search of company to his profession.

Because America is a society in constant movement. Nobody might stay static. We can compare this country to the Fauna of the seas. America is full of sharks, not of fishes, of top predators, not of observers.

The fish stays floating, inflates his air blister, and moves  gliding in the water. The fish can be a philosopher. The shark however has not air blister, not sustain, no family to pay him.

He is a free man, a cell in the chaos of American society. So he cannot use a   speculative brain if he wants to survive. The shark is in constant movement because when he stops he sinks. The writer therefore will sink deeply into the underground of the American society. It is there, in the world of Bukowsky, Carver, or Kozinsky, where we find the masters of American literature. It is the life of the Unabomber with his anti-technology manifesto; the life of this writer, who had a similar work ‘the evolution of machines’ written in 1994, rejected now by 340 publishing house of the English speaking world; the life of Bukowsky, an L.A. drunkard, the work worth to live. The work of the outcast.

He will of course finally produce a work of art with a content that truly reflects the nature of the American society. Or as a master of the language,  he might create a new style. He might become in his purity  a genius, admired by those who know still how to taste literature  – if he publish before he dies – the French, the British, the Academia. Yet he never will be able to achieve what XIX century literary writers in Europe, or painters in renaissance did: a thorough description of the human kind and the canon, because simply he will not be able to have that experience, to talk to all those people he has to write about.

His social failure does not put him in contact with Rockefellers and Madonnas but with bumps, drunkards and if lucky and silent, with that good common people, the  middle class Americans. So he, essentially honest with his art, will talk only about those he has felt deeply, those who have arouse feelings on his heart.

They are the only great writers of the American baroque, today. A man like Raymond Carter has no doubt some of the best prose of contemporary English, the best not-spoken psychology on the American middle class, the finest sensitivity for his suffering, but we are deluded by his small world. He can’t go further, if he desires to talk us about the other Americans, he never met. The baroque masters of American literature, are poets of the losers, because the rich with no sense of humor, only have buffoons that love their defects.

The Ribaltas and Caravaggios of this century  are incomplete, castrated on their goals. They drink, abuse drugs and die before sixty…


You might think that society will make justice if at least would acknowledge their superiority as artists, once they died. But that is impossible because of the very nature of society. Universities might accept those writers and might grant them some money to survive, but society can’t recognize their quality because of their very negative nature. A baroque, individualistic work has little empathy for the essence of the American shallow animetal culture. While that culture despises those who are on the fringe of his society.

In the goldiron culture, Charity has been substituted by faith, knowledge by belief. So  the good Writers are emasculated on their reach, partial painters, of a kaleidoscopic society, specialized surgeons. They have not seen the like of the powerful, and cannot describe them.


The authorized writer of evilness.

This task is left to the mediocre writer, to the money-eater who of course without sensibility and commitment will try baroque approaches to his art, and description, such as satyr, and in any case, paint a total ‘baroque scenario’ where all men are bad. He will not include the ethic sacred opinion of the great writer. that truly would offend the Germanic-Jewish. It would be called anti-Americanism, or anti-semitism, because it would go to the core of the matter.

So the mediocre critic writer always ready to please those who he describe, makes individual satyr, without social depth, surrounding his topic moral statements with charming environments. In fact he makes the audience to desire evilness, to fantasize with the luxury he reads.

It is ultimately the trick that made Dallas so powerful, so important to transform the spirit of the middle class, into the same evilness of his animetal castes. All those J.R. characters always won with evil the best girl, the most beautiful one, the biggest piece of the American pie. Evil wins, is the message authorized by the mass. It has been always the message of the Jewish-Protestant culture against the social Christian-Muslim ones. Evil indeed has won history. But as machines become evil, they will show our animetals how evil can go even further, to the limits of terminator and Matrix.


Meanwhile our authorized quality writer, such as Tom wolf, will use wealth to sell.  and  It will please both his audience who does not know anything about the ruling class but wants to believe in a milder, better world, a world of infinite pleasures, and prizes that takes him away from the common reality, and it will please to those who he describes: because he shows them as top predator, powerful people.  He loves the psychology of power; he admires the objects of wealth; he accumulates data to prove he has been there, creating an oppressive rococo of luxury and stylized sex. He will delight the powerful like a buffoon in their court, tracing their psychology with brute strokes made of topics and clichés. Even if he tries to be just, even if he  stresses the evil of the powerful he will be harmless because topics say nothing new,  and there is no scandal on what has been said for centuries.

Sometimes he will come closer to reality but then the writer will protect himself adding new plots, new fantasies that will delude the purpose of his writing. Harold Robbins’ and Frederick Forsyth and Tom Wolfe, the best of the pack, are good example of this kind of work. They are writers that succeed by teasing reality since they can’t find the soul. So they invigorate the form and abuse dramatic structure and plot lines, that Neo-paleolithic dramatic writers love so much, with no respect to the ideals of restrain and grace. They devote their work to the effect and try to shock their audience with it.

They are today the kings of the new American literature, the gurus of the audience… Take the case of Tom wolfe. The best wolf of the pack.

He stands among the most intelligent, the best gifted mass producer of literature. He has walked on the paths of journalism or magazine writing. He has been there, on the saloons of fame, and once he has reached fame and glory of course his growing ego will desire the last reward. He will want try to enter Parnassus. He will want to be honest and socially engaged. As a human being, even in his baroque approach, as a learned man, he acknowledges the classic ideals, the superior human will of real literature. From old manuals and forgotten readings he will remember that the great were against the rich and so he will apply his energies to create satyrs and parodies, with extreme wit and malevolence, with surprises and insults. His critic of society will be apparently dare but harmless, in as much as the systems are never challenged, nor the characters reach empathy with the reader, as to become moral examples, for the self-reflection of the audience.

Why this lack of empathy? Ultimately his ego has grown so far, that he feels above the people he describes. He is actually calling himself better, entering the same trap of chosen of God, now chosen to explain the other chosen ones, to the audience.

To boast himself to the Parnassus his spirit will crusade against the establishment, but being part of the establishment itself, corrupted already by the establishment, his work will lack profundity and psychological depth, it just will be carefully orchestrated with easy insults, to provoke fanfare without wounds. So it will become vane in his attempt to portray the vanity of the society he belongs to. Yet societies are never vain in their purpose, they might be corrupted, pitiless, decadent, brutal but never vain as those writers try to say us. In as much as there are under those people millions of individuals crashed by the systems they control.

The epitome of that writer – the good writer of authorized good literature, that can reach a few million readers, is as we said in Baroque America, Mr. Tom Wolfe and his bonfire of Vanities, as it was before Truman Capote, but there are many more: Mr. Amis. Mr. Breton Ellis, etc…

9. Film. The art of America. The 3 ages of movie-making.

Our conclusion is obvious: the character of the Americans as spatial, external, non-verbal, visual men, programmed by visual metal-communicators, today by TVs, and by immediate reward, by the hypnotism of the eye – movement and violence, proper of the Neo-Paleolithic  – makes visual media the only media Americans can understand and enjoy.

What means that film is the true art of America, or rather the only media that can allow a form of art, and sometimes has achieved that greatness. Television cannot, controlled by big mass-media companies with political interests. Painting is too simple to narrate reality to Americans, specially when  they cannot capture social painting, sacred painting, the kind of painting as a problem of history that Michelangelo made in the Sixtine chapel.

Only American film making can act as an art in itself. So it should be logic to study in depth the 3 ages of the American modern civilization in the XX century in more detail through artistic film.


The sub-ages of the cycle of Metal-minds. II Industrial evolution


The age of company-mothers, the age of bodies of metal that ended in the 1929 crisis, gave way to the II Industrial Evolution, the age of metal-minds, when America substituted Europe at the head of the Evolution of machines, as Europe collapsed in I and II World war, and the Jewish-Germans and British industrialists exported a great deal of European capital to the new country, the new paradise of machines.

In that paradise, we assisted to the age of metal-minds which had as all civilizations of history, now accelerated by the Industrial evolution, 3 sub periods:


– Metal-ears (age of radio and mute film, or fascism)

– Metal-eyes (age of TV and sound film, or neofascism)

– Metal-brains (age of  chips, internets, and robots, or age of extinction)


We have studied the age of radio in the previous chapter, so we shall consider now the age of ‘visual metal-communicators’ the age of  photography, films, TVs and chips. The age of spatial metal-communicators, the age of the Neo-paleolithic man, the age of visual information.


To notice that history accelerates enormously in the age of machines (acceleration of time=information studied in other books of this writer: “Bio-economics”). And so if in the beginning of History, the first civilization lasted around 2400 years, (Egyptian civilization), then History accelerated to 800 years (Greek-Roman civilization), Middle ages; then it accelerated in the age of gunpowder, to around 240 years (Italian renaissance; French Renaissance). Now the European baroque, the civilization of bodies of metal lasted a mere 170 years. And the present civilization of metal-minds about to end, has lasted hardly 60 years…

Indeed, information is synonymous of time. So as machines of information accelerate time, the entire human civilization accelerates. And each cycle lasts shorter. How long the final cycle of history, the Epic age of robots might last? Maybe if the cycles of war happen, and in the 2030s we enter in the robotic age, we will be extinguished in a mere decade (see “Bio-History”).


The anti-human traits of film-making: structural limits.


Modern film making started at the end of the 20s with the arrival of the first sound film, just when America took over economical global power. Before there had been an age of soundless film – an entire different art – which today is forgotten by the people.

Soundless film of course started in his age the spatialization of human beings, as it lacked any voice, and was therefore a pure image language, from where the artistic elements of sound film were drawn.

Most films of the age show objects in movement (trains were the first filmed elements by the Lumiere brothers), or visually appealing women, making them objects (Zigfield starlets in America, and a profusion of pornographic films around the world). In that sense the language showed already his natural wanting for movement and energy, that would make from its beginnings, machines and women as sexual objects the preferred elements of film making.  As in the case of the company-mother which started treating men as slaves by the equation man=price=object, and killing 20 million Bengali peasants, the inherited ‘evilness’ of the media, respect to the ethics and aesthetics of man is self-evident in those first films. Machines and men-like-objects are the forms that the ‘camera’ wants. The camera is an instinctive, animal eye, with the same destructive instincts of all animal eyes. This first films do not surprise anyone, in their tendency. As the company, the film-making industry requires an enormous degree of ethic and aesthetic love for mankind to become an art. Today we think companies and films are good because they control our energy-life and information, but upon reflection it becomes evident that 99% of the films done and watched today are visual-moving trash, that merely follows the natural tendency of cameras to search for movement, and the shallowest spatial beauty. So Pornography is today the most watched video-film rented in the world. Pornography is also the most watched images of internet. And violence with man as a target or films that show moving machines, are also the most watched films today. In this sense Hollywood only follows the natural tendency of the media to evolve towards the destruction of man in visual terms, and the exploitation of women as shallow forms. It already did so in his first films which were made in Hollywood, because there was a lot of sun… And the police from new York, could not prosecute the Jewish-American ‘thieves’ that had stolen the patents of Edison, without which film-making could not be done. All this is important to realize why also the Jewish-American oldest goldiron culture with his peculiar anti-morality, that thrives when it degrades the Human being, the non-chosen of Gold, became dominant in this industry. It had the money, it lacked the ethics to realize the negative side effects of film making, and of course it had as always had had the entrepreneurial mastership to start a new business. All this might sound as topics of an arcane reactionary conservative. Problem is that they are real topics. The ethic degeneration of man by visual images, started with the first spatial films, in the youth of the genre, which had absolutely not beauty, no ethics, no aesthetics, and no artistic dimension.

It says a lot about the enormous capacity of the human artist to overcome the difficulties of the media, that films like those done by Flaherty, Orson Welles, Kubrick and Coppola in America, Buñuel in Spain, Visconti, Fellini or Bertolucci in Italy, Ozu and Kurosawa in Japan, Murnau and Lang in Germany, Renoir and Truffaut in France, Einsenstein in Russia, Bergman in Sweden, had been possible, despite the anti-human properties, anti-artistic traits of the media.

We have quoted out of our memory, above 18 of the 25 or so film-makers in the entire history of film that can be considered master artists, similar to those appeared in other languages, quoted in this book. You might think they are many but taking into account that a country like America alone produces in LA around 2000 films, and hardly there is one or two films you can watch each year, that are not mere animetal films to the glory of weapons, machines, computer FX and the degradation of man.

In a sense all what we have said about television applies to film-making which is basically the same artistic form of software, with the same industrial limits, that leave very few room to the artist. Only a human government in control of the economic ecosystem could have forced film making into an art, paying for documentaries (we could only mention Flaherty among our 18 master film makers, due to the total lack of funding for non-fiction film making), limiting by law the lethal treats of the metal-eyes (forbidding violence, and the apparition of weapons in the screen), etc. Take this last case. The power and the superior rights of machines over human show in all industrial concerns. So no single country has been able to forbid the use of weapons in movies, while some have forbidden the use of human naked bodies – the machine is sacred, it cannot be controlled.

In that sense it is essential to understand what film making meant to human arts: the collective degradation of all the other arts, absorbed by film-making which made them obsolete, secondary, specially with the arrival of sound images, the arts of the wor(l)d.

Without film making the present man of the XXI c., the Neo-Paleolothic man of minimal verbal capacity and fictional behavior and beliefs could not be understood.

Yet that substitution did not bring as the TV, a higher ethics or aesthetics, but a simplification and degradation of all human ethics and aesthetics, due to the visual movement of the image.

Again all what we said for TVs applies to film making… The few artists of the genre have merely covered with a surface of respectability a language, which basically degrades verbal man to a Paleolithic level.

That indifference of man in front of the image, to anything else but the image shows in the present tendency of film -making towards a return to his ‘mute age’, in the sense that words are totally secondary and scripts lack even the internal coherence of the Aristotelian Poetics, of classic films. Indeed, Hollywood films today are full of script errors, impossible occurrences, absurd characters, false truths even within the fiction of the film. And yet the audience does not care, because he is seeing only images. He does not hear the film. This is possible specially with the X and Y generations of youngsters educated by TVs and films, who no longer hold ‘a logic brain’ a human brain that resists the most obvious lie on verbal thought, the lack of causality between past and future events. The degradation of the Neo-Paleolithic shows in the difference of criteria which youngsters fully grown in the Neo-paleolithic and old men, educated in the verbal age, have respect to good film making. The youngster lacks already erased by a century of visual images, any logic brain to believe the needed causality between past and future events, but merely sees images and expects those images to be new. So he loves baroque films without any coherence. The old man, often the critique of a newspaper, which is not controlled by marketing (for example the L.A. Times always talks positively about films whatever its quality since it is merely a marketing tool of the Hollywood Industry), abhors films like ‘dark city’, or ‘batman’, or ‘star wars’ which the kid reveres…

In that sense film-making has evolved towards its verbal degeneration, and images have moved from a depiction of characters that tried to be somehow real or at least coherent, to a depiction of masks, of baroque images that can be visually striking. Yet the Neo-paloelithic child still absorbs all his culture from film making, so it finds himself after seeing the film, ‘thinking’ in the film and his characters. What degrades after seeing the images, in his verbal memory, the behavior of mankind, as he imitates in real life the mockeries of the film. In this way film as television constantly degrades and animalizes human beings. The result is the brain of our youngsters, no longer educated in schools or families, but in screens, that have made them real ‘freaks’, selfish, individual, deconstructed human beings, passive, unable to react to anything, but a visual image or an immediate spatial pleasure. They are indeed now tamed animetals of the farm, waiting for the day of slaughter when soon in a few decades robots do them all.


The animetal in control of the process further encroaches  it.

Of course the main responsible of this process are the producers, the controllers of the Industry, since the human artist, has fought always that tendency of the media, trying to raise the film towards human quality. Yet the producer is a pure animetal of the oldest, hardest, most anti-human strain, the Jewish-American producer, which in words of Orson Welles is ‘a mere accountant’. And indeed, he is. He cares nothing for the consequences of making mankind at large a violent beast. Not even for the consequences to his people, since a violent beastly American population might at any time start a new cycle of Holocausts against their cruel elites.  He has in any case a huge mansion in Australia prepare to jump as he had a huge mansion in New York, when the brutalized Germans, submitted to war speculation for a century rebelled against the cruel master. This is the great secret of Judaism. The poor Jews are the ones to die in Holocausts. My mother’s family are the ones prosecuted for centuries, not the rich, wealthy moguls, that behave with the poor Jews – now mankind at large in the age of globalization –  as the aristocratic Germans behaved with the German soldiers. Funny that the German soldier killed to get medals to the Prussian warrior, and the Jewish poor, killed to get money to the accounts of his elites, love so much his ‘nation’, ‘his animetal culture’, the one that throws the periodically into inferno.

Problem is that today that cynicism of the animetal banker-priest, that despises human morality applies now to all humans. So the combination of the tendencies of the film-camera, and the anti-human morality of the culture that rules it, once more as the combination of the weapon and the anti-human morality of the Germanic warrior, is ringing mankind to a global holocaust. In this case a mental global holocaust that has reduced to idiocy the great majority of our young people.


The visual dimensional evolution of the metal-eye.

All this said we can now briefly consider the evolution of spatial images in metallic support, in its different stages:


– Photography. Single still images without temporal dimension.

– Mute film. Images put together with a  visual temporal dimension.

– Sound images. Images put together wit a temporal visual dimension and a human verbal-temporal dimensions.

– Television. Sound images that add simultaneity of perception, multiplicity of form (many channels) and direct availability, expanding enormously the influence of the visual media in the human species, since Televisions become all pervading, and multiply its capacity to indoctrinate human beings. It has been studied already as the main industrial form of control of human information in this modern age.

– Virtual reality. A new third-spatial dimension is added to the image. In experimental level today, its main use would be not on human beings, but in robots, as the ‘virtual inner mind’ of the robot, that will allow the robot to move in 3 dimensional space without difficulty as a sentient species.

In this manner the true purpose of visual languages in metal-support is clear: the growth in dimensional capacity to reflect the Universe, with the aim of creating a new mind, different from the human mind, and rival of our mind, in the form of robots. And so we can consider by all means visual languages in metal support an evolutionary species, whose traits, and software needs are conditioned by the evolutionary laws of languages explained in this book.


The struggle for survival of metal-eyes media: search for econiches.

Obviously in all those languages there has been a relationship of preying b which the new media has substituted the previous language, which decreased its important and became secondary. The previous language has not been extinguished, but it has become far less important, and reaches far less number of people/hours than the previous one. So when film appeared, people forgot about photographs; and when sound film appeared, people forgot about sound films, and when sound films appeared people forgot about film making. then the discharged languages evolved further in sheer competence with the new media, and finally acquired also an econiche, all of them against the time the Neopaleolithic man uses in his own will and informative brains.

– So photographs became much easier to create. They became individualized, as the simplest media, of minimal cost-evolution. We see the parallelism with inferior life species (see “Creation of lie” vitaluniverse.net). The lesser species can survive if it finds an economic simple way of reproduction in great numbers. So echinoderm survive because the multiply in enormous numbers. The same happened with photograph. As the cheapest media of all metal-eye systems, it soon found econiches in books, press, and individual consumers, that bought metal-eyes, to capture their individual little lives, transferring now his emotional memories, externally to those photographs, instead of keeping diaries, and personal memories, highlighted in the future by meetings with old friends. Now again in a process of dehumanization and destruction of verbal thought-memories, the individual keeps photographs of his life, and shows them to himself from time to time, to remember. Instead of using his brain, his memories and his friends. For that reason I have never carried a photographic machine in my 20 years of traveling around the world. I keep it all in my memory. I evolve my brain, not the brain of machines… Yet most men are lazy, and let themselves carry by the natural drive towards atrophy of humans senses and organs substituted by machine senses and organs.

–  Mute films tried also to fight for survival with great choreographs in his baroque period, but were very easily defeated, and after a few years, when the sound camera could also evolve and move at ease in the scenario, beyond the bleeper protection that made the first sold films boring dialogs, the mute film became extinct.

– Films again when TV came dwindled their audiences but in this case they survived by synergy with the new media. The same companies often owned studios, or were participated by the same Jewish-American Industrialists. So films became the prestige end products latter put on TVs to increase profits In this manner the highest investments were done first in films, put on theatrical release, and then put in TVs. That symbiotism that still works, saved the film industry.

– Finally TV became the dominant top predator, present dominant media. And it would become extinct only when robotic virtual brains, use 3 dimensional virtual reality to move around the world, and decide to extinguish the main receptors of TV images – the human species.

Then the preying chain between the different visual arts will be completed. We will study that happening in the next chapter.


Photography: the 3 ages


In this manner we can talk for all species of visual images  ages of 3 ages, youth, realist age, and maturity or baroque period. Since there have been several subspecies of visual media, we can consider those 3-temporal phases for each one of them.

Let us start with photography.



All languages start as ‘real languages’, non fiction languages that establish the person who carries the language as a top predator informative brain in the ecosystem. Such was the case of words in the first age of man. Such is the present case of money in the world of economics, and numbers in the world of philosophy (now called science, as it preyed in verbal science). Such was also the case of photography that as soon as it was born, eliminated painting from that role. Images taken with photographs threw out of job, the painters. As usual in the human race, the lesser men, those who were unable to make good paintings, only with human senses, used the metal-instrument to enhance their inferior quality as human beings.

This is also a constant in history. Hence our concept of animetals as sub-human races, expressed in other books (Bio-histry). Indeed the less evolved socially human races, the desert Semites, and desert Germanic people, with minimal verbal evolution became the main races of animetals by association with money and weapons. Now in the age of the photography, the lesser painters, became photographers. While the greatest painters, who tried photography, like Mr. Van Gogh soon abandoned it, conscious of the freedom of their minds to create more meaningful images. We already explained how photography preyed on the realist school of painting bringing about expressionism, and the following isms…

From is birth in the XIX Century till the I World war, Photography remained in that non-fiction role, in as much as it has converted the dual system eye-word of mankind in a fictional, secondary role, that humans no longer believe unless it is accompanied by metal-eyes photographs.



As photographs spread all over the world, they varied its forms, and entered an age of realistic maturity with the new century. Kodak invented the individual camera, and his realistic role became a consumer-role.

This massification of photography, as well as the improvement of techniques of development and enlargement, made photographers, wanting to explore other aspects of his media. When a new language, film-making exploded, becoming the favorite of the masses, photograph was ready to abandon is unique non fiction role, and entered in the age of fiction.

We talk of the maturity of photography since I world war, till the arrival of color photography at industrial scale.

It also coincides with the highest period of European humanistic art, the European baroque, the -isms.

Thus in this age we find fiction photography, with two basic artistic varieties:

– Social Photo-montage, which reaches its height in the German school of socialism, with photomontages of enormous suggestive quality with a social role: to show the paradoxes of capitalism and the treatment the machine makes of man. Photography as a conceptual and visual art has never reached similar heights, since most of those German socialist photographers were repressed, and killed by  the Nazis, or had to escape to America, where their art was banned, by the massive censorship of social-artists thought exercised in that country by mass-media companies.

– Photo-montage of aesthetic value. This school of lesser human ethic&aesthetic power, unable to provoke social, ethic feelings, besides its beauty, but merely an aesthetic pleasure, would not be censored, but become ‘the art form of photography’ by excellence in a world in which social, sacred art is and will always be forbidden. People like Marx Ernst, and many other aesthetic artists of the 20s developed this form of art to its fullest.  Many of them were painters of those -isms in as much as the symbolic schools of painting were naturally blended with this form of photography.


– To those fictional forms of artistic photography, the main stream of photography as a non-fiction medium that substitutes the eye-wor(l)d human system, will find also is artistic category when the documentary form transcended the individual and showed him as an allegory of the entire human race… The works of Cappa and Bresson, during the European baroque with his photographs of war and third world countries the summit of documentary art-photography.


Baroque, consumer, publicity age.


After the war, photography became definitely with the arrival of automated Japanese cameras, and fast-film processing, a consumer event, already explained in his human coordinates. It also evolved into color photography, which again started a 3 sub-period-ages that extinguished black and white photography, which entered its baroque age. Now black and white photography was basically artistic photography, in which form was far more important than content. While the supreme form of the baroque age: publicity, an image to sell a product of the company-mother with a fiction message on his goodness, becomes the main source of revenue for photographs.


Color photography.


In the case of color photography, the existence of previous black and white photography that had selected already styles and ages, made the 3 ages of color photography immediate in time. Besides the almost simultaneous arrival of television, made color photography a species of minimal evolutionary momentum which  maintained the 3 fundamental forms of black and white photography.

So we rather talk of 3 ‘sub-species’ of color photography according to the law of 3 creations.

Energy form: Consumer-mass photography. By far the most extended form: men keep their memories no longer in words but in images.

Balanced, Realistic form: Realistic photography, or photo-journalism. It is part of the mass-media industry of newspapers, mostly in the hands of great industries, that manipulate and use images to further enhance the power of the media. Long ago I received a master class in those manipulation techniques, by a friend of mine, the editor of the New York Times… How easy is indeed to manipulate with the realism reached by photo-journalism a message against a people, or a social group!

Baroque, artistic photography. Which reaches degrees of abstraction and baroquism, proper of other visual arts. In this category though should enter the main form of modern photography: publicity, the use of images, to shock and provoke an act of consume on the side of the viewer. In this manner photography fully enters the realm of company-mothers and further enhances one of the main roles company-mothers keep for mankind: to consume its products.

Those 3 ‘styles of color photography’, are the 3 ‘ages’ of photography, that live together in ‘space’, as a 3 network system lives in you organism.

So we can talk for color photography of 3 ages-species: the experimental baroque form, the mass-consumer form, and the realistic photography.


Mute film: the 3 ages.

 We can also consider 3 ages of mute film from its birth in the beginning of the century, till its extinction by sound film – a more complex language preys in a simpler language as numbers prey on words, and there is no historic prove more evident of that Darwinian fact that the complete death of mute film within years of the arrival of the first sound film. Those ages are:


Youth of mute film


The young of mute film was greatly influenced by photography. Most first film-makers were in fact photographers, that merely upgraded its metal-eye with the natural continuity given by the media. So the first forms of mute film, owe to photography his realistic form, as a documentary, with any kind of subjects able to create movement. We observe again the law of languages, explained in the first part of this book, with those first films. Indeed, as a language is born it becomes a non-fiction, meaningful form of expressing reality. Such was the case of photography for very long, and it was the case of the first films, which were simple relations of normal facts of daily life. Plus the mentioned pornographic films.


Mature age of mute film. The age of -isms.


As people flocked to theaters, and realistic film, documentary film, became a social concern for the newspapers, and industrial leading classes, the producers of films decided to enter the realm of fiction and compete with novels. It was an easy solution in a clearly controlled society that did not like ‘realist, documentary film-making’ beyond the silly-nilly first images of a man gardening, a train in the station, a horse riding, or a woman showing her tits.

So mainly to avoid censorship problems, the null-ethic content photographers, that now were film-makers, decided to go for the dramatic forma, that also adapted so well to the medium. The first fiction films appear. It is the mature age of mute-film making.

The concept of evolution now translates to the software of the language. It was needed to transform the laws of temporal novel, to an spatial medium. To that aim the rules of editing were devised, and reached with the socialist school of Russian mute film its height. Again we see how social, sacred film and the passion of the highest mental humans for the sacred nature of languages, made of the revolutionary Russians, the best film-makers of this age. The realist school of mute films reaches its peak in Russia, with Eisenstein’s ‘Potemkin battleship”, still considered by many one of the 10 best films ever done.

Sacred social film making had been born.

The other two masters of this age of film, will also be born in warrior social cultures, Germany during the ages of the social republic, and Spain. They were Fritz Lang, and Buñuel. They adapted the other two great -ims of the age, expressionism, and surrealism, to film making.

The German school became the mater of expressionism, to show the angst of the man in the world of the industrial evolution, through the inner soul of the main character in film.

Murneau with “Das Cabinet Caligari”, and Fritz Lang which invented sci-fi films with  Metropolis, are the height of that school.

While in Spain, Buñuel with ‘Las Hurdes’ shows a documentary on the poverty of people, which is more real than reality itself. And it creates an entire style of film-making borrowed from surrealist painting, in ‘Le chien andalou’.

In this manner mute film, borrows from the intelligence of human painters, and novel the main technical tools and schools that made of the realist age of mute film, perhaps the highest age in terms of visual power.


Baroque age:

The arrival of industrial film making at great scale, in America, coincides with the extinction by military repression of the best European film. The great Russian school of social film is repressed by Stalinism. The German Expressionist school is repressed by nazism. The Spanish surrealist school is repressed by  fascism. Only the worst of all of them, the Italian historic school is converted in a national form of propaganda by Mr. Mussolini.

We enter thus in the age of extinction of mute film as an art, born and developed in its greater heights in Europe. It is the baroque age of film making, when it enters into an industrial phase, and becomes a tool of propaganda of animetal cultures. In Europe, Lienni Riesenthal will use it to create the false image of Hitler as a leader of the German people (“The triumph of the will”). In Italy, Mussolini uses it to create the concept of a ‘historic empire’ (“Cabiria”). In America, Hollywood uses film to create great orchestrated decorative evasion films, as it had used radio to stunt the masses into a dramatic fictional world.

The quality of mute film of course has plundered. It is the age of Von Stronheim, and other European directors that moved to America, to take the baroque age of European art to his height of kitsch and bad taste, in the new media that swallowed all the arts together, from music to theatrical sets, including all forms of literature.


Meanwhile the Americans copy all the technical elements of European film making, and Griffith, and B. de Mille, the men that copy them better, become the genius of this Hollywood age.


Virtual celebrities.


It is also the beginning of the phenomena of virtual celebrities. Human beings who are rather common, huge egos, infantile actors, with little to admire as individuals, but impersonate heroes on the screen, and become in this age of fiction, the role models and admired gods of a mass of degraded human Neo-paleolithic dramatic men, destroyed by the life of the industrial evolution.

The most dangerous phenomena for mankind at large, the substitution of reality by fiction, now reaches a new height. It is the concept of popular culture: the use of fictional forms to entertain the masses and deviate them from revolutionary action to improve their lives

If the first form of that culture had been born in the XIX century – mass sports soccer in Europe, Boxing and Baseball in individualistic America – now a second strain, even more dangerous appears.

We have commented on his effects in the section dedicated to TVs. Now people no longer will fight for his real heroes – the r=evolutionary artists of the word, the Trade Unionists, the left politicians – but for the screen virtual celebrities. they are mask of fascism, that latter will be imitated by radio-Hitler and radio-Stalin, and today by TV-reagan in the age of neofascism to take the concept of living in a dream that avoids the real nightmare and let’s that nightmare to develop in full.

Again the lesser individuals of the world of theater and acting, are immediately fascinated by this chance to become thanks to his symbiotism with metal-machines superior human beings.

Indeed, not surprisingly the great actors of theater, fought a difficult inner fight, with his ethics of human nature, when being lured by Hollywood status, and money. The case of Laurence Olivier, the great Shakesperean actor, which always considered film making a second form of art, and returned back to theater once and again, or the case of Mr. Welles, the greatest actor-film maker of America, who inloved with Shakespeare made the best adaptations of his work to film, shows how that struggle touched the greatest actors of the age, with a clear vision of what were the human ethics and aesthetics of visual arts.

In any case the masses followed the fiction-film and fiction film became the main way of deactivating r=evolutions in America, where it implanted itself at industrial scale, closely controlled by the Jewish Animetal subculture, and definitely censored any form of social film making. It still does. So America thanks to the use of fun radio, an fun film did not suffer any social revolution in the 20s and 30s.

Instead the likes of Valentino, and Fairbanks, Pickford and Mae West, and Gloria Swanson, hold prisoners the mind of the Americans in the realm of fiction. The lethargic state of consciousness called the American dream, had been born.


Genre film making imposed itself, in this baroque age of mute film.

The comedy became dominated by and English man, as it is natural to the English trader culture, that defeats non-fiction with cynicism and humor: Charles Chaplin.

Drama became the realm of Germanic directors, whose warrior animetal culture has with his long sentences, no sense of humor but a tragic ideology of evil, that permeates all his rhetoric art: so Von Stronheim and Von Sternberg conquered that parcel.

While the mentioned imitators, Griffith and De Mille, did the local stuff for American consume, the epics of American culture, “Intolerance”, an intolerant film about racism, in which blacks are white actors painted in black; and “the ten commandments, an epic saga on Jewish prophet Moses, that cares nothing for the inner content of those commandments, but only for the action movements of the red sea…

In that sense it is fascinating to compare the “ten commandments’ films made in Hollywood with the ’10 commandments’ artistic masterpiece of Kieslowski, a Polish social-catholic director. One is pure animetal epic pastiche, the other is a work of art, that stands by its own as the best series ever done for Television. Indeed the spirit of a real human artist can beat even the limits of the media.


Sound film


The baroque age of film though did not stand the arrival of sound film. And as soon as the mike was reduced and could be put with a giraffe on top of the set, allowing actors movement, and the camera was made soundless, loosing his huge armors, the new mobile sound camera, eliminated mute film from existence..


So again we can consider 3 ages for sound film, that coincide with the top predator status of America as the new economic power of the world. And his 3 generation cycles in power.


The American generation cycle.


The present cycle of America as the top predator started in 1928, after American weapons had won I world war, and dollars had been loaned to Europe which no longer could pay. European currencies entered in crisis according to our analysis of bio-economical conquest, and then the Dollar became a top predator currency substituting the Mark [1922 crash of the mark] and the Pound [1929 crack of the pound that caused next year the Stock-world crisis of 1929, when the British tried to retaliate des-investing in Wall street.].

After that America became the world top predator. We talk of 3 generations of American culture and people, mimicked by the 3 ages of American industrial films:


– The tough first generation of Rockefellers and Roosevelts, who conquered the world in the II World war. The age of epic art [war movies, westerns].


– Yet America evolves, and as the world power consolidates with World war. It comes ‘the Trader generation’ of post-war age, awash with dollars and weapons, with maximum wealth, till 1973 when a new Worldwide type of money [electronic money] appears.

It is the Age of classic America, in art, pleasure seeking revolution, and human attitudes towards the world]. Americans were then admired by the entire planet.


– Finally the present “Baroque”, extinctive generation of decaying Americans, that are lazy, ignorant, and abuse their monetary and military power worldwide. Americans are now despised and feared… Those Americans are also a generation, on the verge of extinction as e-money becomes the new worldwide currency, and specially as their ‘cowardice’ towards life and control of their ecosystem, pushes them to substitute American soldiers for robotic weapons… that sooner than latter will displace them, as the new top predator world army.

It is also the age of violent, extinctive art, of cyclical culture, of Terminator movies that foresee that horrible future.

Those 80 year cycles are therefore parallel to the 800 year cycles found also in artistic and cultural rituals, with a lineal, trader and baroque age of culture. Themes those treated extensively in other books of bio-history.


Film the supreme American art, its 3 ages.


We illustrate the 3 ages of the American world dominant culture with 3 different films from the epic, classic and extinctive age of the sound film:

–  ‘Red River’, a simple western, of the young age of film art.

– ‘Double Indemnity’, a realistic depiction of the new god of America, that values all reality in this country – money. Yet money values metal-species, such as weapons, more than any human good, including human life.  So in a civilization in which all values are monetary values, society reproduces weapons in huge quantities.

So as the most expensive and profitable items of an economic system, reproduce, America enter the extinctive baroque age.

– America reproduces weapons in huge numbers, and weapons have to be used. So films show the increasing violence of the American society. It is the American baroque in which we live:


Old Age Of History: Age Of Machines And Numbers


II Cycle: Metal-Minds: XX C. The American Baroque


 Russia [War dominant],  European Union [Wor[l]d dominant], America [Money dominant]

Winner Civilization: Protestant-Scientific America

Youth=Energy                   Maturity                   Old Age=Information

I Age: 1914-40s:W.Ws.      II Age: 1950-80s:Cold War.      III Age: 1990-2020s:Computer Weapons

Visual Art: Films

Lineal, Simple                        Realism                                   Extinctive

Red River, Hawks     Double Indemnity, Wilder            Terminator , Cameron



Verbal art:films


I Age: Epic, Simple           II Age: Sensorial, Realist               III Age: Baroque, Extinctive

Jim’s eyes dart                     “Kane’s empire, in its glory, held         “It started early in the XXI C

everywhere will a              dominion over newspapers, radios          with the birth of A.I.

solution. An idea hatches.  An empire upon an empire.               a consciousness that spawned

He whips out his Colt         which for fifty years flowed,                in a race of machines. War

an unending stream, the wealth            turned the face of our planet

of the earth”                              from green and blue to black and red”

“The Matrix  is everywhere….

You can see it on your television

A prison for your mind.

Wild, wild west              Citizen Kane                                                The Matrix



In the graph, some texts and images of the 3 cycles of the spatial metal-mind, the dominant civilization, today a global civilization, built first in America, in which human beings and artists, ethic wor(l)ds and laws, have become secondary to the use of words in fiction form, as the number dominates all real institutions of our society, from democracy to science, from economics, to daily life.


The 3 generations of America are clearly shown through those films.


In our examples the American civilization of art based on Metal minds [radio, films, TVs] goes from 1928 to 2008, through a first lineal age of epic films of warrior nature [Western]; a trader-commercial age of classic film that explores human feelings [till the 70s]; and finally the present baroque, and violent age of trash-films and prophetic films terminator-style, which foresees the extinction of the American, now worldwide civilization.



The youth of epic Americans conquering with his animetal energy the world, is the age of Western and Black films, that borrow the aesthetics of German expressionism, and are concerned with the modern ‘cow-boy’ the gangster, are the main form of films in this age. The need to show movement and violence is already obvious. Both cow-boys and gangsters use weapons, kill people, destroy human lives.

The puritan black and white ideology is also the fundamental plot. The Indians, the human culture destroyed by animetal America is bad. The heroes are the genocide murderers. Yet because aesthetics are relative to ethics, it is still possible to create great films, within the limited Universe of fiction, in which films develop. It is in that sense interesting to notice the independence of the language from reality, and the capacity to change History of the new media. Americans, indeed will shape his historic consciousness in favor of animetals in those films, in which the good guy, the good history is caused by America. The shallowness of images, allows that simplification of history, cause of the absolute belief of Americans in the goldiron, animetal culture. Westerns ultimately mean the worshipping of weapons as the tool to resolve all problems. The best director of this unending stream of Good Vs Bad wrong morality is John Ford, which was intelligent enough to transcend that simple scheme and show histories within white people only, which have in this manner survived better the pass of time. His best film, though, the Stagecoach, is a copy of a famed Maupassant’s short story: ‘fat ball’, translated from the Prussian-French war to the Indian wars. It shows again what is the natural system of good film-making: a good script. A fact easily forgotten by the hypnotism of images, in latter ages of film-making.

The other two genres of this age of film-making have also an underlying ideology: the Mafiosi film show the catholic immigrants, as murderers, brutal Italian people, without remorse, in their pursuit of money – the second goal of the American animetal civlization.

Confronting them the high comedy shows the good people, the Goldiron Germanic-Jewish Americans, with all the refinement and good consciousness, of the correct Protestant-Jewish morality, of well-deserved money, earned in Wall Street and machine speculation. Again a social-catholic group is stigmatized – as it will be latter the Latin-catholic immigrants converted systematically in drug-dealers, during the baroque age of American film.

Howard Hawks and George Cuckor, become the master of this film genre, a subtle, gay man with a feminine strike, and a professional adventurer and liar, which show however enormous technique, beyond any ethical sense, and become the perfect propaganda vehicles for the upper classes, in what might be regarded as the most complex film-making in this age.



As the Americans awash in money realize of his World role as super power, and I world war starts, it comes the age of mature film-making. Orson Welles shows in “Citizen Kane’ that he has assimilated all the elements of the language, developed in Europe in the age of mute film. Americans have also matured as the second generation of top predator worldwide Americans take power.

“Citizen Kane’ becomes in that sense the emblematic film of this age. We explained its multiple levels and paradigmatic importance. It is the film that confronts the master of the age of Film and radio against the master of the age of press (hence degrading the owner of that press age successfully). It is the film that opens the realist age, with a documentary technique, that imports all the findings of European film making. It is a parable of the American animetal, the man who worships money and forgets his human will, till it finally becomes a lonely collector of human art he does not understand. “The American” original title of the script is still the best description of the animetal American, the ruling force of that civilization. Yet “Kane” is a masterpiece, because Welles knows the ethics of man, and so it takes the side of man, without forgetting the aesthetics of the medium. It finally is the emblematic film of the fight of human artists against animetal producers, that have controlled and biased against man the information of America. The prosecution and black-listing of Welles, the best director ever born in that country, shows the real soul of the American ruling castes, that would latter back McCarthyism, Reaganism, and the extinction of all human hopes of survival to the machine.

The school that Welles started though will not have followers, as he was ostracized from Hollywood. He had said of them, “they are only accountants’. But accountants rule the world.

So Hollywood followed with his genre movies, that forbid documentary, social films, individual parables like “Kane” or any film that resembles reality and teaches reality to the Americans. Instead, if created a series of genres that always subvert at the end the parable of the film – in the few cases there is such parable – with an optimist final.

Now those genres entered his realistic age, since Kane had left his formal advances – not his spiritual messages – in the heads of lesser directors.

John Huston, an Irish man who had gone earlier to Mexico to see the R=evolution by his own eyes, renewed the gangster genre, with “The Maltese Falcon”, bringing up one of the few stars, wroth that name, the underdog, complex Humphrey Bogart.

He would also give his face to a film that renewed the adventure romance, “Casablanca” by European Emigrant Michael Curtiz. A series of good technical directors, mostly European immigrants will keep on doing good films, with poor messages, so well packed that made us belief the morality of the animetal, as supreme  morality. The case of “Casablanca’ is quintessential: the good man, Victor Laszlo, the idealist, is a moron, the American, the pragmatist, without social concerns, is the hero. We quoted it here, however because the hero redeems itself at the end. Indeed, it rejects the good life, the essence of the American pursuit of happiness, abandons the woman to the hands of Laszlo, and himself becomes a freedom fighter, starting an ‘inseparable firenship’ with himself and the French…

Yet those elements that we find in Kane or Casablanca, or The Maltese Falcon, the ethics of the hero, or the anti-ethics of the animetal, are exceptional cases, in what is the basic plot of Hollywood – a transvestite morality based in money and weapons, that plagues most of Hollywood films.

In the realist mature age, however many individual works stand out from that mediocrity and general ethic evilness, to become masterpieces, as individual directors show in a mild way the human side. All of them struggle against the producers, but as human audiences flock to their films, a mild level of open heroism appears in all genres.

So Elia Kazan takes in “On the waterfront’ those premises further creating a social gangster movies (though of course the bad guys are still Italians, and a Trade Union!, probably the only Trade Union that goes against workers in all America).

That duality of the message is natural to Hollywood in this classic age. It is of course imposed by the system. The famous list of the 10 ‘communist’ of Hollywood, would take care of the direct, social message. Indeed, in that list the best script-writer of Hollywood in that age, Mr. Dalton Trumbo, appeared. He made the master piece of American anti-war films, “”Jhonny got his rifle”, in which unlike all other films on war, we show the outcome of war, the paralyzed, maimed human being, consumed by the top predator machine. Another fundamental author of this age, Robert Rossen, who had filmed that little master-piece, of realist film-making, “The Hustler”, went under. Mr. Kazan would talk all what was needed…

Duality with a crooked message thus became the authorized form to express human ideals.

Meanwhile money went to the classic genres of Infantilism, that made Walt Disney a millionaire, Gangsters, Detective and police stories, to reinforce the obeisance to the metal-law, comedy, long past his Youth age, and adventure, which diversified in all kind of kitsch, from Maria Montez to Rita Hayworth.

The loner masters, Welles, the best director, and Trumbo, the best script-writer were ‘out of the picture’.

We have thus highlighted of the people that could work with the censorship, of this age, Billy Wilder, which being Jewish, and a master of a lesser genre, the comedy could make good film making, without being thrown out of the Velvet Carpet. He and John Huston, whose magnificent personality let him stay in the game, are the masters of this age in the two genres, comedy and adventure that could be filmed, once the great genres, social parables and documentary (epitomized by Kane) were forbidden.  When the 10 were judged, and a caravan to Washington was formed to protest, they were there. When the Director’s guild put up a motion against McCarthyism, only two hands raised. Guess which. Wilder and Huston. Because true artists, do have also true ethics. And that shows in Billy Wilder’s films, and Huston. Even in the lesser permitted genres they filmed, even within the limits of their All-American culture, ‘Sunset Boulevard”, or ‘Moulin Rouge’, “The Man who wanted to be a king’, or ‘The Apartment’, ‘The dead’, ‘The quiet man’ or ‘Double indemnity’ are honest films that draw an accurate picture of the human kind.

A third man, outside and inside the system, a surprising character, Mr. Sam Fuller, did also open with very low budgets, the reality of America, in parables such as “Shock corridor’ in which the quintessential self-made man fights for justice, and finds the system blowing his mind and putting him in a madhouse… “Underground USA” and other similar films showed that naked realism, which more expensive films could not.

Meanwhile of course the mass of B-movies, exploitation movies, war movies, nationalistic movies, re-runs of old comedies, adventure movies, police movies, detective movies, and all the harmless, system-positive films inundated the screens, making us all nice and good believers in the American nightmare.

Outside the Industry Mr. Welles continued his trajectory. His mastership was such that even when acting, he could convince the director to make a masterpiece Orson’s style. Such was the result in Carol Reed’s “Third man’, shot as if Orson were behind the camera, and  Heston’s “Touch of Evil”, shot as if Orson was the main character. Orson Welles though had evolved. He had gone beyond his realist style into his own baroque, isolated and demonized, prosecuted as a communist by the CIA, he had lost his conviction that men could be saved. Men are evil, and twisted, and now what can we do? When as Picasso said to his son “all what they tell you to believe is a lie”. While the mass, those little points seen from the top of the wheel of fortune… believes it. So why to fight for the mass? That disturbing message left by the “Third man” in the ruined Europe, shows the grinding power of the Animetal American culture, that had destroyed his best XX century artist, hidden for ever since in the adaptation of Shakesperean theater. Where men were still heroes, and fought for the ethics of mankind…


The zenith of film-making: neo-realism, cinema verite, the 60s.

Then it came the sixties revolution and the mature age of film-making came to his zenith. Again thanks to the influence of European films, which showed from France and Italy, from the social-catholic European culture, a series of masterpieces of neo-realism and cinema-verite

In those films we find the premises of sacred, social art. The Italians and the French belonged to the correct Human culture, and so his environment showed humanism. They had not to force their characters, beyond the canonical changes needed to make the individuals, role models of  the entire humanity.

This was achieved by Italy, center of the European wor(l)d culture, that now could merge the ideals of the ethic Christian, and the beautiful aesthetics of the Italian art.

“Roma citta Operta” opens this age of great Italian film-making, the zenith of film as a form of art. A series of authors, Rossellini, De Sica, Antonioni, Fellini, Visconti, Passolini and finally a second generation with Bertolucci, Rissi and Scola, surrounded by master cameramen, like Aldo and his disciple Stottaro… in a society basically free in his human will, and complex in verbal evolution, showed a fresco of all human groups, with an emphasis on the human parable, and the improvement of the human condition.

Films moved in an open interval from the pure, epic realism of that first film and the works of Rosellini and Passolini, to the stylish works of Visconti and Fellini of lesser content and higher aesthetics, to the intermediate work of Antonioni exploring the inner angst of the existential age, and De Sica, giving a Christian magic tone to his works.  The unending stream of masterpieces make of this age of film-making the zenith of the art: “Miracle in Milan”, “La dolce Vita”, “La Strada”, “L’escapada”, “The Inconformist’, “The scent of a woman”, “Last Tango in Paris”, etc.

The silver age of Italian art, only inferior to that magnificent renaissance, in the baroque of Christian Europe, had an enormous influence in the film making of all other nations. In Japan we can see his subtle adaptation in the earlier works of Kurosawa, and the late Ozu, which reached its zenith in “Izuru”, ‘To die’, perhaps the best film made on the process of dying from an ethical point of view: a man confronted to dead, decides to spend his latter days helping a community to build a park, despite the total indifference of the bureaucratic state.

Each nation from India (Ray’s films) to Spain (Saura and Bardem) to England (Free cinema) to Sweden (Bergman), to France, would adapt neo-realism to the description of their people. Some would show characters uglier than others depending on their culture. So the British as well as Bergman would describe the Germanic repressions as no other film-makers have done, and Bergman will parallel with ‘Wild strawberries’ the mastery of Izuru in the analysis of death, now from the selfish inner ego.

France though, the other free nation of Social-Europe (Spain was then under a fascist military dictatorship), will be the country that will be able to explore further the freedom of film making, with an emphasis in the individual and the sensorial pleasure.

In that sense we can observe now in film the duality of the two master genres of literature mentioned in the previous chapter:

– Social, sacred, ethic film making: Italy.

– Sensorial, Individual film  making: France.


It is the nouvelle Vague, in which Trufeaut, with his humanism, stands above other remarkable efforts of renovating the film genre (Goddard, Bresson, Resnais, Malle). Trufeaut is the realist that describes human nature, while the other directors try to translate the findings of the earlier -isms to films. But the great works are those which use a simple, fluid description of the human sensorial search for love, pleasure and social company: “Breathless”, “400 blows”, “Hiroshima, Mon Amour”, liberate the human Victorian repressed spirit that lingered in all cultures influenced by the dominant Goldiron Jewish-American culture of the 50s.

They will be imitated by all other cultures, producing some masterpieces such as “Aino Corrida” (“The empire of the senses”), in Japan, and “Last tango” from Bertolucci, shot in… Paris.

The Americans took notice and adapted that work to their nation, renovating film. It all started with a stylish gangster movie, “Bonnie and Clyde” that exported what it was easier to export, the free handling of cameras outside studios. Yet as the 60s revolution peaked, some film makers were free to make their own revision of American history and the Indian Genocide (blue Soldier, Little big man, A man called horse). It is an age intersected by small mater pieces, by many directors that showed how in a free society art could have thrilled even using the metal-eye anti-human media. Love was now the theme. Love even filled the West in “Butch and Cassidy”, Love filled the bourgeois mother in “The Graduate”, love filled the gangsters in the mentioned “Bonnie and Clyde”, love ‘filled’ the past New Englanders in “The Great Gastby”, love filled the homeless in “Midnight Cow-boy”. “Love was all and all what we need was love.” The word also talked of love in his songs that we will study in the next paragraph.

But love was not what the American animetal society had in perspective. They were still busy hating mankind, in Vietnam to spend weapons, in the Golan Heights, to colonize the primitive settlements of the Bronze age, in search of his animetal roots. Love was transmuted into hate, and the killings started. Since animetals could not be human, could not forgive his cycles of hate, between traders and warriors, could not forgive the Holocaust, could not forgive the Blacks for being more human than they were, could not forgive their children for wanting a better life, than they had lived, they killed them all, Kennedy brothers, Luther, and Malcolm, 3 million Vietnamese, the Palestinians, the Blacks that rebelled, and then they put the McCarthyism inventor, Mr. Nixon, and the traitor against ‘communist Hollywood’ Mr. Reagan, to clean them all. It was the end of r=evolution. Weapons and technological machines, chips, would now rule supreme.

America entered his baroque-baroque, his extinctive age. And film soon followed.


The baroque age of film making.


As the people was repressed in the streets, so were films in the screen. To that aim all the elements of rhetoric mentioned above were used. Mainly visual rhetoric of movement-violence, and technological rhetoric of special effects.

The concept was to minimize words and plots, to maximize images, and to choose all the old genres again. Those directors who could adapt now to “hate” the new name of the game, that could show weapons, that could despise human beings, would become the heroes.

So the best adapted to keep filming. Mr. Scorsese moved from love-film making “Alice does not live here anymore” to hate-film making “Taxi Driver”. So did Coppola, from “Rain man” and “The Conversation” to  “The Goldfather” and Apocalypse now”. Those were though the Italian-Americans, who had at least the aesthetics they learnt from neo-realism, and cinema verite. The bulk of film makers had merely heard the new conservative concept of violence and hate. And so they just made all kind of violent films with no respect for the plot, the audience, the veracity, and the rewriting of History in favor of the empty animetal dreams. Once the film was done, just repeat it, as a bad hamburger with poisoned food.

So it came the Stallone series, “Rocky’ and “Rambo’, the “Batman series” which further distorted the human spirit, the prophetic “Terminator series’, where however miraculously to cheat the future, man survived the robotic weapon, the “gangster” series of Mr. Scorsese, and the war movies still being produced such as “Pearl harbor”, and of course the “Holocaust” series, films to make the revolutionary good Jewish, revengeful, hateful of all mankind. Films in which only the final cruelty was shown, but not the real problem of Holocaust, the making of wars, by war companies, financial speculators, and ideologies of war, exactly equal to those that now Hollywood was instilling in the minds of the Americans.

Problem is that the Hitler and company are dead. The other element that caused the II World war, were the financial Jewish-Germans. Now they are the Jewish-Americans that promote the violent conversion of mankind into neo-Paleolithic men, for the sake of cinematic profits. And yet, not a single film on the Holocaust showed the entire process of degradation of Germany by his industries of weapons and mass-media rhetoric, since those industries had been exported to America. It was the Hitlerian myth. Hitler not the system was guilty…

In this manner hate spread all over America, re-educating the next generation, that no longer as the flower boys could love, but now could hate. So Mr. Marlon Brando’s son hated so much that killed the boy-friend of his sister. A parable of the change of generations… and the effect the new hate deal had on our children.

The process continues now in the final baroque films coming from America, re-running, repetition of old hate games, with a lot of technology and not a single good line.

The other genre that it will be promoted and now has become the most watched of all America, is the pro-technological film of science fiction, to use better computers and improve and evolve the metal-mind.

As the metal-mind has evolved further it is now the supreme genre in America. The master of this genre, of course is Mr. Spielberg, a Jewish-American obsessed by hate, that only makes good films when leaving his factory of special effects. treating the holocaust, in “Schlinder’s List”,  and “Sloath’, the recording of all the hate of all the survivors, that neither forgive, not remember the causes of those holocausts, as their animetal culture leads mankind to a new holocaust. Mr. Spielberg helps with his robotic films (Dinosaur robots, Artificial Intelligence, and Actors robots). They seem to forget that the old nazis are all dead, as well as the people, the banker-priests of Germany that paid for them. So they are now creating the Holocaust nazis of the future, the robots. Will they when mankind is extinguished by those robots, and nazi-Americans they help to create with violent movies, also hate from our collective tombs, the robots now they so much like?


The ages of TV.


We have studied the ages of TV, in the previous chapter.

The Spatial-visual American civilization, has again 3 clear ages studied in the next chapter:


– Youth: 1960s-70s. (or TV-age) which makes some reality films imitating the realist age of film -making (Serling being the best of them, that also starts with “twilight zone” sci-fi TV).


– Mature age: 1973-1990 (or Chip age), in which evil becomes now dominant, with series like Dallas, and sci-fiction series. Both make the reversal of form from Serling. Now Sci-fi is optimist about computers, the backbone of the Industry, and series do not try to create positive role models, but negative evil people, such as JR. which gets it all with money and weapons.


– Baroque: 1990, 2020(or internet age, with World-stock as the global government)

Violence is now the centerpiece of TV. 70% of children cartoons are violent. While deactivating, non-verbal systems of images (MTV) plunders into the brains of  the youngsters, with baroque, techno-computerized music.

A good introduction to study the last of the popular forms of art, Rock and roll, modern music.



10. Modern music, and the 60s: Sex, Drugs and Rock&Roll.


The 3 ages of radio.


Modern music is a phenomena associated to radio, hence its verbal content. In that sense we can consider modern music, in his explosion of freedom, parallel to the mature age of film-making in America. In that sense we can talk also of 3 ages in Radio in America:


– 1st age or epic age, in which radio is manipulated by Roosevelt and other politicians to control the people after the 29 crisis. Coughlin and La Follete however use radio to demand a human goods policy that takes many people to the verge of rebellion. But radio is in control of the Jewish-Americans, and soon they prevent any serious revolution to take place through radio. Instead they inundate radio with classic music and fun comedians. It is the end of the Youth of radio as a serious medium of non-fiction to transmit real messages.

The transitional age from that Youth, epic, non-fiction age to the fictional age of radio, as an instrument to play songs, is epitomized again by Orson Welles, which will create another master piece of XX century ‘satiric art’, his transmission of the “War of Worlds” of Wells, as if it were real. So much impression had caused the new medium in the American people, that they believed in radio, whatever they heard, as before in the XVI century they had believed in press, and Luther, whatever he said. Or as in Germany they had believed in Hitler…

But Welles was not Hitler, he was a good man, and one aware of the shortcomings and programming of the American mind. So he did a mockery of that ‘belief’ which chains Americans to their dictators, making believe all of them, that the Martians were attacking the Earth.


– Classic, fiction age of radio.

So radio became entertainment, and so it became the way in which music arrived to every American house. First it was classic music, that delighted the old Americans. It was a prefect language, as it had been in the Ancient regime in Germany, because it did not have any message. And it substituted other verbal tasks, such as listening to Trade Unionists…

To avoid experiences such as that of Coughlin the Catholic priests that rightly demanded a social economy based in Human Goods, Wall Street invented a lot of money in radio shares, and allowed the fusion of those companies into mega-companies under Jewish control. CBS became the biggest one and latter used up his muscle to become the biggest TV company.


However meanwhile, people accustomed to hear music on radio bought individual music players, as they had bought cameras, and now nobody forbade them from listening whatever music they wanted. So they went for the best music, and void of verbal information, went also for music with words.

The age of pop music had been born.

It is the age of Baroque music as an art. So before we consider the different authors of this mature age of radio, we shall deal with the technical aspects of its music.


The baroque of Music: technological instruments.


To start with, pop music has far less musical information and complexity that classic XIX century music, as film making have far less verbal and plot information than a book. So we are departing here from a phenomena of devolution of the musical language which means the extinction of complex music, that we already treated in our study of sound languages.

Why this happens? Why the music of the XX century is far more simpler than the music of the XIX century? For the same reasons that now wor[l]ds, are far less complex. Both words and music are in the Neo-Paleolithic simplified by the use of technological art, and instruments that do not adapt to the human capacity to listen music of read books. Indeed in film as in electronic instruments, the human hear can capture far less sounds, confused by the noise of image, or the noise of metallic sounds that his biological ear rejects. Hence the simplification of script writing and pop music that has far less notes and complex chords that classic one.

If in film this is overcome adding images, in music it will be overcome adding poetic words. The result of course is that music extinguished complex poetry, the only surviving form of literature that had resisted the arrival of film.


Pop Music: extinction of Staff Music and poetry.


So complex, staff music is dead. Why? Because Music has entered as all human languages, its phase of devolution, due to the arrival of technology, of musical machines, metal-ears and metal voices, with a higher range of emission of sounds [higher treble and bass sounds], that distort and take music beyond its natural human limits.



In the graph, after the first age of music, with simple sounds,


But music itself also devolves into its simple forms.

As we return to the Neo-paleolithic age of mankind, we go backwards into primary forms of art, in languages: into impressionistic images, parallel to the caverns of Altamira, into techno-pop repetitive sounds similar to the tam-tams of the Paleolithic, into “I love you” simple sentences, parallel to the first sentences of man; into violent images, parallel to the first violent images of the hunter. It might seem a topic. Yet it is sadly truth. Today for the Neo-Paleolithic man, Altamira and the tam-tams are already beyond his capacity of understanding. Since he is now entering bestialism and total deconstructivism.

Music is now however being composed not by humans but by machines, by computers, which make more complex sounds, but cannot yet make ‘love songs’. So the songs of music are minimalist, and the sounds are electronic-generated, creating an alien music to the brain of man, which however can still be loved by young people, often under drug abuse.


While music into Paleolithic sounds. Let us study its ‘devolution’ through pop styles in more detail, when we analyze the baroque age of Music languages, in the Neo-paleolithic.


Technological music = modern pop, Parallel with TVs.


Modern music is born from a technological, and cultural merging  which happened in America.

Its importance today to maintain children in fiction thought, without reading, without logic understanding of reality is obvious. Its effect has been to increase enormously the time young people dedicate to dramatic, simple thought.

As such it has an effect parallel to that of TV thought.

It is indeed the combined action of music and TV, what has deactivated our next generation and simplified their minds to the limit.

In that sense as TVs extinguished good film making, and literature, music ended 2 human arts: poetry and classic music. It merged both, making both more simple..

Then it put them into a distortion process with electronic instruments.

Poetry, based in the analogic method, of considering all forms parallel (metaphor) was simplified into its more simple dramatic sentences.

While the sounds of classic music were simplified by the new instruments.


Black music simplifies staff music.

This simplification of modern music is a process parallel to the simplification of the staff language of music.

Due to the general cultural annihilation of European arts that happens when a European art is transplanted to America, a land that cares nothing for the evolution of human languages, 5-staff musicians in America were at best 2nd rate.


On the other hand the top predator life-human race, the black race was in America fro centuries, and had kept his traditions of simple Paleolithic music. So as we entered the Neo-paleolithic their music became perfect for the new age. Being as they are natural verbal brains, the Blacks improved upon their simple Paleolithic rhythms and added influences from complex European music. And the jazz was born.

So when radio and vinyl disk came, musical vitality was in the black communities which did not read 5-staff but was biologically inclined to verbal=life perception.

In this manner as black music evolved, without staff, by improvisation, music returned to the freshness and simplicity of pre-5-staff age.


Technology helps. Poetry is simplified.

Yet a further element is needed to explain rock: the evolution of technology that broke the range of treble sound, beyond the limits of human’s biological nature, inventing electronic instruments, the Electric Guitar, the electric Organ, the synthesizer.  This allowed musicians to explore sounds beyond our range, which multiplied in the first improvisations of electric guitarists, and mixing studios.

As a consequence human perception of complex music within the human range of treble-bass Sound perception decreased; since many rock musical notes became technological noises that the ear could not properly appreciate.

This meant the natural range of ear’s perception was now secondary as extreme sounds filled your sensorial organs.

This of course brought an excess of ‘excitability’ still proper of those who use disco music and electronic music. The natural brain interpreted the use of electronic sounds unknown to our ear, and the amplification of those sounds by artificial electronic systems, as an attack to the senses. It freed the body into a short of craziness, proper of the first people that heard rock concerts.

Of course the conservative human beings said it all, but they looked like idiotic old morons, and people kept buying the new music.

The excessive tone and frequency of those technological sounds did not matter. Because pop music had also words, and they were free words, words told by young people, not about the animetal society but about themselves.

In this sense musical quality seemed accessory. I still wonder if people would have listen to modern techno-pop music without words, in that age if it had not had poetry on it.

So youngsters listened to the new poetry instead of buying books. At the price of destroying poetry and complex music, the two languages that technology and company-mothers had put together in modern music pop music was born:


Poetry-> Lyrics +  Beats ->Music = Pop an Rock and roll.


Of course, there are still poets and writers and musicians, but their work is secondary to the audiovisual media; and their readers on the thousands only.

Today humanity is no longer educated by human, biological languages, but by technology and its simplification of human arts, necessary to reconvert complex human informative arts into software reproduced by metal-mind machines.


So in order to do good rock, a simplification of the composition is needed, since a few electronic sounds will be easier to ‘like’ than a painful excess of electronic notes.  Which means that the complexity and richness of sound – the advantage given by the use of 5-staff – would be mostly useless in creation of rock.


The pioneers understood simplification.

In that sense there are 3 clear ages of Rock-pop music, in the electric guitar, the master instrument of this age:



The pioneers of beat-simplifying music, in the non-biological range of high pitch sound, created the first rock and roll: People like Chuck Berry and surfer Dick.

Their musical complexity was minimal.



All the ranges likable to be perceived by a human ear, were basically reached with  Jimmy Hendrix. Once the human ear had been accustomed to the new range Hendrix created the complexity that in him made rock and roll almost equal to the classic arts of jazz and 5-staff orchestra…



The simplicity of electronic guitar music is such that the maturity age was reached and died with the death of Jimmy Hendrix. Then for decades some new sounds, some fancy songs can be found, but as you cannot create many paintings with a single color, you cannot create many melodies with the simple elements of an electronic guitar. Still for decades, as money poured from the industrial system, into Music, to stunt and maintain harmless our youngsters, all the possible combinations of music have been touched. Their authors are in the total adventure of human art, second rate character. Accordingly they consider themselves supreme intelligences, heroes of the modern age. And the devolved youngsters that admire them coincide. “Clapton is God” was a common graffiti in London in the 60s. I prefer the motto “Slow hand”, because indeed, in the realm of music, not of the industrial control of children’s brains, his work is just that. Slow tones for slow minds…
It is then better to study modern music from the industrial process of control of human information by fiction, and the poetic process of rebellion against the establishment that for a few years in the 90s, pop music with words, performed.


The industrial process. Why pop music degenerates.

Indeed, we can see the rock phenomena from the perspective of the constant industrial=monetary degradation that all human goods suffer, when money touches them.

Musical creation is determined no longer by the language of music but by the language of pricing which makes arts subservient to the social, political and economical game of animetals. In music once animetals bought the first free groups and disk houses, the message became standardized. This has happened with all arts. The “Stockrats’ of information control Wall Street and from there, the right to create new money. So they merely wait for people of merit to build new groups, new songs, new disks houses. Then they reproduce some money and buy out companies. The “masters of the Universe’ control in this manner the game of music, as any other game of Industrial reproduction of a product.

Yet when they enter the field, they impose slowly the goldiron concepts of art, degrading the collective mind of men, into a mass of simple songs, that become  the standard products easier to reproduce.

It is the same process that we have seen happening to painting when it entered the gallerist circuit in America, to literature when it became a best-seller form, to European film when his techniques were imported and mass produced in Hollywood. It also affected to music, after the Indian summer of independent groups and small publishing houses.

Again this tendency coupled with the evolution of electronic instruments, mean the general decadence of music that has come till today.


The same fact of mass-production techniques, works to reduce the number of active musicians in favor of a few idols, that mass produce, reducing variety. It happens also in film-making and other art forms: the winner, the artist who better adapts to the limits of the reproductive mass-media system, takes it all.

Finally  because rock music has minimal complexity, it has been all explored, and his messages against the system have been limited by producers, it only rests as the creative element, technological evolution. So the metal-sound producers, now the disk-jockeys become the creators of modern computer-made music.

and reproduction of digital software [marketing], are the main factors of the music industry.

The techno-economics of music become indeed the main cause of  the form of modern music.

There is finally another element to take into account: while the best musicians are always black, endemic racism searches as in the first films in which white stained actors played the black parts, white stained musicians that look like black voices, and black instrumentalists. The success of The King,  Elvis Presley, the first rock star, was based in that camouflage. He was a white that sang like a black.


The 3 ages of pop and the conversion cycle.

 So we can consider a racial simple scheme of musical transmutation that takes the spontaneous Music of the black artist to his massive reproduction by a white one:

1) Black artist [Maxi-musical race, subspecies: Rock master, evolutor of rock by musical devolution of complex western music] ->

2) White American [copycat]; social expansion of sales into white classes by star system]->

3) A Producer. It improves melody  with sound engineering, varying the range and increasing Euro-5-staff chords.

4) A British boy which expands worldwide the music. He increases sales since the  British belong to the ‘adored’ mythical elite of the Goldiron culture easily converted into a virtual celebrity.


This simple transmutation of  back music into white music has happened with all the basic waves and styles of rock and pop. Let us take 3 examples from the I Age, or youth of pop music, its mature age, and its baroque final age:


And so we have the famed [simplified] series of the I Prophetic Age of Music, during the 50s and 60s:


RHYTHM AND BLUES> 1) chuck Berry> 2) Elvis; Dale; etc [Max. Reproducer x Min. Evolutor] > 3) Leiber and Stoller[∆ Complexity =staff arrangements] + Carole King and Jerry Re-producer x reversal to female groups and markets > Spector [∆ Complexity =staff arrangements] // 4) BEATLES


As a black star put it: “no blacks can get the hair long and straight, forget that. That change the music in a racial way. We had got a people together with the drifters. May be now with Michael Jackson, ha, ha”.


In the previous scheme we have all the elements quoted as fundamental to the devolution of music into pop music, and his massive influence in the mass of youngsters of our society: the Black non-staff musician, using electronic instruments, the American White transformer, the electronic mastery of the producer, and the final simplification by a white boy.


Pricing, technology, scientific racism, and socio-economics creates in this manner the reality of modern music: In that series the white British artists were clearly inferior to the black ones, but producers in search of ‘the white hope’ made them stars.

Yet money being the supreme Go(l)d, soon it was clear that some black musicians could not be easily translated, so producers decided to sell them directly.

Money is superior to racism. So producers who could not adapt those musicians, ended accepting the higher complexity of black music.

Yet this further degraded the sound of pop music as the rebel blacks also adapted to the mechanisms of marketing. For company-mothers men are divided only in two forms: consumers=testers, and producers=workers. And so to cater to the equalized mass of consumers, company-mothers prefer simple products, averaged to middle class taste. Therefore they normally oppress and erase, quality and creativity, and the culture and point of view of minorities. This process simplifies human culture and the human mass. Which once made more simple will want even more simple art products.

The process has happened in mass-literature, in mass-films, and it happened in mass-music.

On the other hand, for the same reasons of efficiency of production, music became also democratic because, given the enormous gap between black and white musical skills, it finally accepted black musicians.

Still our 4-path system of conversion and mass production of music would repeat again in the 2nd wave of musical devolution, or Classic Age of rock:


1) James Brown + Black Underground –> Velvet -> 2) The Doors -> Iggy Pop -> Alice Cooper  // 3-4) Rolling Stones -> Bowie etc…


that took us to the 80s…


With those simplified schemes we completed the two main ages of pop music, the optimist young age, in which pop music was parallel to the 60s revolution, based in love songs, and positive messages.
And the second age of pop music as the revolution was crashed, and the system promoted violent art in all the spheres and languages. They were parallel to the similar ages for visual film making we have studied in the previous paragraph.


So as we advanced into the 80s, we entered also in music as we did in film into the baroque age of music. Now words are totally irrelevant. The words of music are meaningless. The sounds are basically done by engineers and producers, and finally by computers, and disk jockeys. A brutalized audience, the Y generation educated in hate, erased in verbal content, in search of simple satisfaction, the Neo-Paoelolithci body human being dances to the repetitive music of acid house…


It is the 3rd Age of extinction of Music;  where the music factor is secondary to the theatrical-visual-TV-like dominant experience, and the expansion of metal-sound technologies.

It is the age of the great concerts, of the unending disco-numbers, and the big concentrations.


The 3 ages survive for different econiches.


Of course as in the case of photography by the law of 3 creations, today the 3 ages of music have adapted themselves commercially to the 3 groups of youngsters:

–  The romantic youngsters, the most humane which have melodic music, ballads, and silly songs similar to the initial 60s but with far less quality.

– The technologic youngsters, the most robotic ones, which  are crazy about computer produced and disk-jockey music.

– The balanced mass, who prefers the concert experience with the usual celebrity, similar to the II age of Rolling Stone like groups…


Thus we talk of the 3 types of modern music:

– Concert music based in the marketing system of virtual celebrities.

– Techno-music, based in the evolution of the metal-voice species.

– Poetic music, based in minimal sound and maximum verbal message, in which the verbal nature of songs is still used. Today we have the commercial strain of ballads, and rerunning of Mr. Clapton’s Leyla, or Mr. Tom Jones “It’s unusual” and the real street poetry of rappers, as a mode of social communication, that is in the last years becoming repetitive, but has been for a decade the only pop music with certain human content.

Obviously only techno-music will survive in the digital age of robotics when man is gone. We can imagine that robots will go to mass-concerts in which computerized systems will play strange sounds to the human ear…

Who were the masters of those musical ages quoted above? As in all the other arts of America, during the age of freedom, the 60s, not only art, but music peaked.

It is clear that the I Age of freedom and r=evolutionary music in Pop created the best electric black music and white song-poetry…  . In that 1st Age the summits were Hendrix  and Dylan; the musician and the poet… The British simplified equivalents would be Clapton and the Beatles, far, far below.

Those two masters will mix to give birth to Marley, the musician poet, probably the most complete of all pop musicians there has been.


The degradation of poetry by music.


Modern music not only preys on musical notes but in verbal thought, in this case poetry. Poetry becomes industrialized and degraded in depth thanks to music.

We say that pop extinguishes poetry, as photography extinguishes painting.

Further on today there is unlike in free poetry, without need of industrial processing, an open censorship to musical anti-establishment words, which eliminates in the transformation from poetry into pop any revolutionary message. Companies do not distribute revolutionary music.

This is the hard-core lesson learned by the Jewish-Germanic Americans who crashed the American r=evolution. So finally poetry has become also part of the industry of metal-minds, and has therefore become degraded.

This is caused also by the dramatic character of music, that expels any serious logic voice, as boring, as TV expels intelligent people, talking slow.


Besides Mass-production means that lyrics have to appeal to the white mass…If blacks are the providers of the notes of pop, for words, the industry prefers whites that determine the accepted lyrics.

So the optimal song will be either made by a black man writing white letters, which will make the music good and the letters ‘soft’:’I played for white kids, so I talked of cars, and schools, and love…”[C.Berry.] Or a white poet doing black music, or black movements, using the words and myths of the Jewish-Germanic culture. This other modality indeed has become the most promoted substitution to real religious social masses. It is Madonna, singing, “I’m a material girl in a material world”. It is Presley singing ‘Money honey’ or ‘Long tall sally”.


Such masses would love music for kids, without any revolutionary relevance. The white wo=man singer offers a mass experience. A simultaneous gathering of many men that create a higher plane of social existence, a ‘social God’ invoked by mediation of the pop artist. Social bonding of individuals through a common network of communication, cells with nervous systems, people with priests, kids with pop artists, suffer all the same natural phenomena of dissolution of your soul in the communal experience. If that communal experience is enhanced with drugs, that open you to further perception of the unseen flows of social communication that cannot be seen but perceived with the brain, then the experience similar to the mass is complete. Problem is that it is empty of social content, and once you leave the place it has left on you no social ideals, no capacity to act. So it is harmless to the animetal society that controls through company-mothers the mass experience of music.

This is in essence what we call rock concerts. And the reason why pop artists are treated as Gods. They do substitute God’s function as a placebo of human social subconscious communication, without real effects on the Universe of Man.

Since concerts are mystique experiences watered down in the value and ethical content of the message.

They take advantage of technological musical and sound complexity that further stuns the audience into a mass-state. They use the scenario geometry to focus simultaneous human minds oriented towards the same temporal direction – that of the singer towards whom we create the mystique feeling.

Before you went to a mass; then to a socialist meeting, now you go to a concert; and God is not Christ, or Lenin but Ac/Dc. Take your pick.


11. From the 60s to the 00s. Popular culture: We are free to become idiots


The culture of the 60s: sex, drugs and rock and roll.


We now have all the elements of the puzzle to explain the devolution of art in the XX century and the creation of a popular culture, with the opposite function to art: to devolve, and maintain in a lethargic state the human mass. This of course is not new to History. Along this pages we have studied how gold religions and inquisitions (the people’s opium), even rhetoric art, were used with that finality. We might say that since the arrival of animetals there have been elements of control of the human mass, with artistic form. What differentiates the XX century is the peculiar form of transmission of those elements, through electronic networks, that act as the nervous system of an organism does: sending simultaneous informative flows to all human cells of the historic organism, and hence controlling them with an accuracy never witnessed before.

The body moves all its cells simultaneously because the brain sends simultaneous messages to all of them through the nervous system. The different networks developed in the XX century achieved that perfection in an increasing number, as metal communicators evolved in simultaneity (reaching more human mass) and informative capacity (carrying more information). At the same time, as metal-communicators became bigger in size, their industrial nature became more evident, and the animetal castes acquired total control of them.

In that sense we can talk of metal-communicators as species that go from a youth of simplicity in which they are rather free, and even human groups can use them to liberate the masses, to an age of maturity when they reproduce industrially, and big companies, with castes of animetals on top use them to program men into violence, greed, consume and work.


Television, programs men as workers/consumers.


As metal-communicators evolve, their rhetoric convinces people in greater numbers. Today, the substitution of our human virtual reality [our perception of the universe through eyes and words] by the digital virtual reality of new metal-eyes [TVs, mass-media] is very advanced. Our youngsters believe more in Television propaganda than in Human truths. They prefer to see ‘the virtual lion king’ that the real lion jungle.

Further on, since the huge costs involved in its software reproduction are assumed by company-mothers, for whom men have lesser rights than machines, metal-communicators are used systematically to eliminate social ideals. It was all over again. The New Luther was called Hitler…

Radio was used by Hitler, Mussolini and their Companies of weapons [that paid their bills] to eliminate socialism and provoke a profitable war.

Again 40 years later the new metal communicator, TV-thought was used by American GOP Politicos and Digital Pricers, to deviate the 68 revolution.

The revolution was televised. Then Reagan, an actor, took power, and Bush brought a televised fun wars, like a video-game.

Today the American mass do not perceive reality but TV ideologies.

For them, enemies are not individuals, but all those people and ecological cultures that TV decides: Arab terrorists, Chinese communists, and the like. People are tagged in this way with words that dehumanize them. People become evil images on the screen, like those video game images that you can shoot at distance. Americans are totally indoctrinated by mass-media, as Germans were by Hitler or Luther. Again, as in the case of the age of Religious wars, the very low level of social evolution, and verbal development in the American, Goldiron culture, explains why the American people, have accepted so easily such simplification of their human ethics, while the Social European, still resists…

However the new metal communicator, the internet once the initial “sense of freedom” has vanished, is now used by Animetals, to further control the information of the Earth. Its power of indoctrination is even higher, and probably not even the culture European will resist the ‘hypnotism’ of the net.

Soon it will control our information, and the access of man to credit, and survival…

Televisions show a deformed, negative vision of man, because their ideas are the ideas of company-mothers, not of verbal ethics. Company-mothers think men are only workers, consumers, or targets for war machines.

So today most men become under so much Television propaganda either workers, consumers or targets for weapons.


The rebels


How it is then possible to escape such programming? The answer is: there is no escape within the system. The mass becomes programmed. The animetals that program them are part of a millenary culture that has not changed rhetoric even at the verge of extinction. .

Paradoxically many Jewish people, sons of those who suffered Hitlerian rhetoric, are today applying the same violent rhetoric that transforms mankind into a violent, neofascist people, and the same racist rhetoric against African and Native-Americans [Mexicans], from their top predator Animetal position, in control of Wall Street, American Mass-Media and the Law [±75% of legal firms, TV-producers and Stock-firms].

How to escape the, that enormous power of the goldiron culture, and the sophistication of the means by which they program us?

The answer is radical: by giving totally you back to the system, by escaping the system, externally or internally outside the goldiron culture, in the artificial paradises of drugs, or upwards and downwards, in the elite or the underground of the world.

Indeed, there is a mass of roughly a 75% of humans who are programmed or wish to be programmed into the myths of animetals, wealth, consume work. There is however a great number of men who are outside that program. Either because…

– They have so much money they have no responsibility and can be educated in the human senses (elite class of aristocrats).

– They are totally outcast, in jail, in enemy cultures, resisting in Islam or Social Catholic Europe, the pressure of the system.

– Or they have escaped into the artificial paradise of drugs.

– Or, they have transcended this society, this world, and see reality with the indifference and wisdom of a man who understands and yet rejects the society in which he is:

“When a society is so corrupted that defies any reform, the philosopher only can observe and wait its extinction”.

This final position is the position of a real artist, of a baroque master, in an age in which the power of eviL=anti-live cultures is so strong that extinction seems unavoidable.


All those positions shaped the outcome of the aborted Human  r=evolution of 1968.

With a surprising mathematical precision in the moment of maximum maturity and perfection, of the American cycle as a top predator nations (see Biohistory), between 1928 and 2008, just in the middle point, 40 years passed, in that age which the Greeks considered the absolute height of the mind of a man, in this case the collective mind of the American people,  the Americans tried to rebel, against his animetal castes, and the control of his society by machines and money.

I have always been fascinated by such explosion of human passion, in the just moment, when the American society had reached its intellectual maturity… And yet it was surprising how fast the animetal castes of America destroyed that revolution, killing a few leaders, and confusing with the use of metal-communicators the audience, instilling fear on them.

The concept behind that massive counter-attack of the Homo Bacteria against the social evolution, the love=communication flows that for a few years were established among the young, the women, the workers, the black races – all the groups of verbal, feeling dominant humans exploited by the scientific racism of our digital civilization, was again to exalt the individual selfish man, as the summit of humanity, of freedom of self-existence, and to deactivate the struggle of the social mass against the animetal castes with the concept of ‘fun’, of enjoying life, of ‘don’t worry be happy’, the song of mcFerry that would become the human of the 80s. In that sense it is clear that the system in a subtle way, without the need of collective massive repression 1984 style, has been able to create the new brave world, in which we are all free to become idiots, by diverging the masses towards the line of lesser resistance. Don’t worry be happy, that we take over, and you just have fun. Music songs thus evolved from solidarity, protest songs, towards love songs, and theatrical, individualistic, pleasure seeking songs. The change from Dylan to Beatles to Rolling Stones, to funky and disco music establishes that evolution from social minds to new individual, irresponsible homo Bacteria, which was the final end of the rebels of the 60s.


The transformation of art into popular culture.

As the revolution failed, and its leadership was murdered, instead of a massive repression of the followers, they were offered the possibility to have fun, and stop worrying. While economical adjustments made the survival struggle more difficult. Beheaded, and poor, the social mass of rebels, confronted only fro a few years the policial and military repression of the right wing that reached with a policy of fear, and the manipulation of the press, in favor of his candidate, Nixon, power again in the crucial elections of 1972, which can be considered the age of the end of the Revolution. In two years, as electronic money and the chip started a new metal-communicator – internet – and a new revolution of the machine, that would build matrix, the interconnected brain of the Metal-earth, the human revolution was erased. To that aim a second element of ‘scare’ was used: the punishment of drug abuse, that hand in hand with the black rebels definitely motivated the silent mass that had not evolved his mind, from the puritan, money-values schemes, to turn the head against the r=evolution.

Let us then consider the effects and nature of drugs, and how in fact they harmed the human revolution and those who take them, but by not means, are the enemy of mankind, and a crime, but a form of self-exploration often with negative effects of the human mind and his linguistic process.




The issue of drugs illustrates how Justice based in the values of money that favors all metal evolution and penalizes all vital aspects of reality, is the only religion of Modern societies and governments controlled by Companies.

Drugs are to start with an entire array of substances, which have the capacity to change your mental languages, and how they elaborate space and time. As such they are fundamental tools to know the organization of the human mind. And only because of that they should be considered seriously as an instrument to understand human nature, with much more ‘resolutive power’ of the mysteries of the final space-time nature of the Universe we perceive, than telescopes or cameras.

Drugs however are instruments that affect directly our chemical senses, as filters change the metal-eye senses of a telescope. We are though much more paranoid about changes in our senses, than the senses of a telescope. For that reason it has been easy to introduce a negative valuation of drugs, without really learning what they meant.


Drugs as filters, as dislocators of your tempo-spatial perception at Mind or body level are indeed strong in as much as our society has established extreme dogmas about time and space, and our position of the Universe, that drugs break.

Specially those ideas established as dogmas by science.

What drugs show is that science is false. That space and time are fantasies created by our mind, over previous fundamental forms, energy and information, that is transformed by our minds.

Hence scientists oppose to drugs, because drugs shows their venality.

Drugs also create fundamental experiences that distract us from that ‘fantasy, artificial world’ created by our mind, and our society. They among other things, make us indifferent to work, machines and other fundamental programs of the economic system.

So companies oppose to drugs.

Finally drugs give you a strong sense of  natural perception, that has nothing to do with schemes of mental control such as laws.

So politicians oppose to drugs.

Drugs indeed free your mind and the system hates it.

Of course freedom also is synonymous in excess of chaos, and destruction, and so drugs can free your mind so much, that the final knots of your personality, the final biological systems that create your ego, are broken. And so drugs are very dangerous. But the system does not care for much more dangerous substances, such as weapons, so that negative possibility of drugs is more an excuse to cover the previous systematic reasons of drugs opposition.

All this said, it is obvious that only those interested in exploring the ultimate way languages perceive the space-time reality, artists, will be able to appreciate positively drugs. The rest of people are not prepared for such strong linguistic experiences without a change in his dogmatic knowledge. For that reason we consider that drugs are not for the common people, but for the very selected artists of perception that require them for creative research [Space-Time distortions of formal existence caused by drugs guide the artist into worlds different from the human eye-space opening doors to new perceptions, it can use latter to create new forms]. Drugs hence should be limited to certain professions; as certain physical territories of Tempo-spatial danger [caves, mountains, airplanes etc.] are also limited to specialists. As such they have been consumed by most prophets=artists of the evolution of languages. European and American XIX-XX C. art cannot be understood without drugs. The effects of drugs in your mind though is strong. So as the climber does not risk his life going up the Everest every week to find the same view, the intelligent artist limits his drug exploration once he has understood through drugs the relativity of eye-perception, and the flexibility of space-time languages, and mental-physical forms and senses. The self-centered, arrogant artist or climber might pursuit too long those risky paths, and would probably end up in a cliff of death. That is his own decision and risk, and society should explain him those risks and try to limit them, as it limits the sale of explosives and permits to climb the North Face.

This is the real problem of drugs: drug-abuse, that breaks finally our understanding of the social space-time we share with other people. Its effects in the 60s revolution was hence extremely negative for the social revolution of man, against power, because it made of each drug-taker an individualist that was searching his own distortions of space-time, and reinforced the individualist programs of other media, crashing the social fight against the system. Drugs in that sense were clearly one of the reasons the revolution failed. People ended in search of the easy paths of pleasure and drug abuse, instead of the difficult paths of social fight against the animetal power.


And yet those facts cannot explain the massive attack against drugs, and his marketing as the main threat against humanity by modern animetal societies, while guns and weapons of mass destruction, and chips and TV-thought of mental destruction multiply, with far more lethal results for the specie, without true serious critique. Such contradiction surprises the intelligent man, and requires an explanation, from the point of view of the real legal power that imposes fines against drugs: companies of scientific machines, which control all what does not profit machine evolution and human repression of our will and time dedicated to humans sensorial experiences – which is what drugs do, wasting our productive time.


Types of drugs.

A real analysis of drugs should be based in other concepts: their effects on man, not on the productivity of companies.

In that sense we differentiate according to human nature, and will:


– Mental drugs. Which can be further divided in:

Devolutionary mental drugs.

Evolutionary mental drugs.


– Body Drugs. Which also can be further divided in:

Devolutionary mental drugs.

Evolutionary mental drugs.


Some drugs are thus + [evolve perception] and some are – [destroy perception] and should be treated with opposite measures. Yet from the point of view of companies which devolve men at pleasure in mind with TV-software and body with weapons, the reason to forbid drugs instead of TVs or weapons is obviously not the devolutionary arrow of ‘hard-core’ drugs, but the God of Profit. TVs and weapons increase productivity and profits. While drugs do not, but diminish such wealth, since in all cases of drug abuse, by changing our Space-Time perception, the individual is prevented from efficient external physical activities, and hence from ‘productive’ animetal activities of machine work and consume. In plain terms, drugs diminish the productivity of the metal worker-consumer, which in stockracies is the only use of a human being. Thus drugs are penalized with a harshness that is not seen in societies since Neoludittes had to be hang and left to putrefy in public display, for trying to save humanity, attacking machines in the county of Liverpool. We do not hang yet druggies in the streets for the people to see, as Neoluddites were. We have though ± k millions of innocent marihuana consumers in jail, for the only reason of wanting internal human freedom, in a world in which man has less and less external freedom, and rights against metal productivity= evolution. Not certainly the rights to know truths about his own existence. Drug-addicts, mostly of social cultures exploited by scientific racism, search for refuge to the hostile Metal-earth in the virtual world of drugs. Metal masters though want them to search for refuge in the virtual world of violent TV-software. At least there, they activate the Nielsen Polling to increase marketing, advertising investment and the production of more guns and Digital forms.

If we want to consider the issue of the goodness=evolution or badness=extinction that drugs cause, there are in fact both kind of drugs, positive and negative, [within limits of normal consume=use, since abuse of any substance from chocolate candies to tobacco will surely endanger your health]. This does not happen with metal production since all weapons, chips and most TV-thought are plainly devolutionary; and yet weapons TVs and chips are ‘freed’ by companies.

Some drugs are mind-social evolutionary when taken in the right proportions, notably marihuana, low alcohol drinks [wine] and mild forms of ecstasies. They are positive for human thought, and a good method to socialize. They also make you to perceive the relativity of space-time [distortion of our virtual world that proves the relativity of scientific description of space-time, in the context of a bigger, vital Universe]. They hence open the human race to relativism and indifference for dogmas of triumph and progress. In a humanistic world they should be allowed precisely for the opposite reasons they are forbidden in Animetal societies: to decrease human productivity and hence speed of evolution of machines; to create awareness of the living Universe; and open more avenues to human and body communication, to create therefore through such communication flows of social love. Yet those arrows are all human objectives of our will that would endanger the creation of the Metal-earth, and the dogmas of science and his single telescope-clock-computer based Universe.

Other drugs though like Heroin are body-devolutionary and only approach the mind to death=pleasure sensations; they should be forbidden and penalized.

Yet that Human legal pragmatism is not shared by our modern techno-utopians and idealists of money. Companies hate mental drugs, because unlike tobacco [and cocaine] that promotes work activity, such drugs reduce work activity, except in creative processes that requires previous destruction of reality to reconstruct it with the style of the artists. Since companies create modern human morals based in productivity, drugs are bad. Because we are slaves of Companies, even in ethic thought. The issue is very serious. Drugs are temporal experiences which distort the light perception that science confuses with the entire Universe. Drugs show that the Universe of science is in your mind-eye, by changing the parameters of your program of perception as a mirror of the absolute Universe. Thus all drugs specially the inoffensive evolutionary varieties, have to be repressed from the point of view of the Metalearth, since they would open mankind to higher levels of analogic thought, and allow many of the humankind to discover the extinctive nature of the game of Companies. That would create indifference to the sacrifice man does for the simple world of machines; and hence drugs have to be extinct. Again we refer to evolutionary drugs: if all men would take a week of holidays with monitored classes in awareness of the sentient universe, with some smokes of cannabis, the world would have a real chance; and metal master rhetoric would sink away. People could start to laugh at Mr. Galilee definition of Time=clock. So hundred of thousands are in jail to avoid such occurrence. Which is the ultimate subconscious reason for which the Metalearth will never allow Humans to relax their speed of productivity with the contemplation of the sentient Universe.

Animetals are programmed since earlier age by science to believe the world is his eye…

Yet why drug addicts have such terrible external form: obviously because they live in their inside processes of creation of perception; and so when their eye fluctuates under drugs, they see the entire world crumbling, and feel not the opening of his perception but the destruction of his world; and think drugs are enormously evil, instead of thinking that Science is enormously ignorant. Pot-heads thus become the image of idiocy…

Such simple view is highlighted by marketing to demonize drugs.

Yet few times in the past drugs have been so brutally repressed, as they are today in America, on the verge of creation of robots and sentient machines, the real cause of human extinction.

Perhaps because the danger is so close, drugs could open consciousness of the corruption of the system to many people.  So as companies market the extinction of man by more evolved metal eye-brain systems, since drugs  might open up human consciousness. So the drug issues ‘the number one enemy of our civilization’. Indeed; what the commentator, a recent president of America forgot to say is that our present civilization is the number one enemy of mankind. Such repression will increase as the Metalearth is closer to self consciousness, and the chip Homoctonos radiates in all kind of machines with electromagnetic sensors. We call this age neofascism.

Companies might not understand the subconscious reasons of drug prohibition, as stock holders deny the subconscious evil of his parallel actions based in pure greed, which credit evolve further lethal products. Yet Companies know perfectly that drugs limit the productive abilities of the individual; and create free Genesian=lazy men. And that is dangerous enough to put drug users in jail. The excuse that forbids all drugs together, is the devolutionary capacity of hard-core drugs in the human being [that should be rightly limited]. Yet this is an excuse, since the same companies deny those properties to guns when they are asked to forbid them. Then a new kind of rhetoric, that of the myths of human freedom and control of his will to use a gun, is performed to defend gun production. Yet the Universe is a rather mechanical process of constant communication: if you see a gun you will immediately desire to use=communicate with his form by firing the gun. And you will desire a moving target [max. perception of the act of firing a gun] as you desire to see movement [and hence violence] in TV. And so the existence of guns increases the probability of death of a human being far more than the existence of Drugs. However since in America animetals have been designed into perfect selfish individual units of accumulation and worship of property, guns and computers are good.

Till Property awakes…

Let’s be here subjective not to property but to human rights: Drugs are time-space manipulators that shift the main parameters of perception of our senses . As such drugs are fundamental to knowledge of our personality, yet the price of such search is most often destruction of the program=personality of the experiencer.

Vt: Evolutionary drugs: evolve either body or mind perception.

Vts=reproduce and enhance the space-time perception

Vs: devolving drugs: devolve either body or mind perception.


Most Drugs have an added disadvantage for productivity in the real world, in as much as they transform temporal perception and therefore become devolutors of spatial awareness. A fact which converts most drug addicts in a sleepy form, or zombie, unprepared for enzymatic tasks of spatial order. All those facts are known by Companies and legislators. Yet the consequences of isolating the mental mind from the physical mind of a man, and the subsequent body disturbances experimented by the ‘experiencer’, however do not qualify the drug addict as a criminal, but as a self-destructive student of the devolutionary arrow human form; [unless he steals or kills, acts those who are already independent in his penalty of drug use, caused by the artificially high prices [thanks to prohibition and associated violent Mafia] of drug-abuse.] In any case drugs are a faster mode of knowledge on the nature of Time and Space, far cheaper – and less lethal we might add – than all the atomic tools of our physicists. Yet analogically from the point of view of the survival of man, we do not put in jails physicists which study atomic forms for the extinction of humanity [evolutors of weapon and computer vectors], or forbid telescopes and computers in the educational system. No. We throw out teachers, pay them misery salaries, subvention computers, and put in jail people who adventure into the interior of their minds, who harm basically only themselves. Indeed, in times of collective extinction all the laws are upside down; just right for companies rights.

What a druggie chooses is internal chemical perception, while a scientist chooses external light perception. The first willingly hurts his own eye-external reality, and that’s it. The second however transforms that external reality in such a manner that we become then slaves of that metalethal external reality he has constructed. Till finally his Gods of metal creation [computers] will extinct us. So who is to be penalized, the druggie or the Physicist?

In a Human world the state should maintain drug bars, where hard drugs can be consumed safely, at prices in constant evolution to match and displace at maximum price, external dealers, who are illegal and dealt with the same harshness than digital products. Those places should be restrictive, bordering illegality and staffed with prevention, and anti-hard drug campaigns. Then the state washes his hands, and leaves to the individual and his rights of freedom to act in consequence. Marihuana though should be legal after work hours, and of common ‘public’, not private use, in monitored centers, as opium was in the old parliament of Iran, for the same reasons: to enhance the contemplation of God, the vital Universe, and the social mind of man…

The subject of how all modern laws are designed to protect companies productivity and property rights over human rights, would take a whole book in itself. Because metal productivity is the true motivation of law and hence of limits to human freedom in America, since the first slave companies arrived to her coasts.


Conclusion; the age of neofascism, final death of art


Neofascism had arrived. Now the revolution would be of minds of machines, chips that would start the last phase of the Industrial Evolution (see “Bio-history” and “Bio-economics”) while pop music entered the 70s with his funky, individual songs, and the industry choked the small labels of independent music, installing the present industrial system of music production without relevance of social content. As the industrial evolution evolved further, popular culture, understood as all those forms of culture that would reduce the social desire to fight for power, became dominant. Sports instead of sex (body competence instead of body love), and digitalized music and images instead of verbal thought (mental erasing instead of mental evolution) would be now the anti-truths of art that plague the culture of the end of the century.

The concept is obvious, if verbal thought, literature and love songs evolved human communication, now violent films, null-verbal content TV, and the image culture would create the neo-Paleolithic, eye-based, violent, anti-social man of the modern age.

While the body communication of love and sex, would become through competitive sports, another form to exalt competence, individualism and struggle between bodies. Sports indeed are basically a preparation for war, for lineal, energy systems of understanding your body. While sex is the form of sport that communicates humans.

So the revolution was deviated from solidarity to individualism, from verbal evolution to digital hypnotism.

This is the essence of modern culture:

– Cult to the external body, through sports, fashion.

– Cult to the image languages, through TVs, special effects films.

– Degradation of verbal solidarity through the exaltation of competence, and activities that foster competence.

– Repression of the human will, with the deviation of the Sexual revolution by anti-sex campaigns of scientific nature (aids etc.).

– Repression of social culture with minimal distribution that gives the impression of ‘freedom of expression’ but choke the capacity of real human or sacred art to reach its audience.

– Systematic optimism and techno-utopias tat limit all dissidence against the system.

– Massive use of propaganda based in shallow, external forms.

– Multiplication of fiction and contents that diminish the power of the single message of social truths…

The same coordinates of the animetal culture are now in place, with much more sophistication thanks to the diversity of media which the animetals and its industrial systems control: TVs, films, radios, publishing houses, posters, are all controlled by the industrial companies that have unlimited credit in the stock market to keep pumping their anti-human software. That massive credit explains how internet is being built to further control the individuals, and fusion all other systems of mental control together.

The outcome is evident in the mind of our youngsters, in his mental devolution, brutality of thought, individualism in the most shallow of forms, passion for machines, and consume=destruction of their environment and all what surrounds it. The values and morality of money have imposed themselves, and they have destroyed the ethics and aesthetics of man.

The animetal cultures have won.

Short will be their victory, because soon, it will mean the extinction of all of us. Including them,  which as their first divinity, the Cananean God Moloch, the Golden calf, would swallow them in the pit of inferno, during the XXI century, the epic age of robots…




1. Robotics: The extinction of America foretold by his artists.


Sci-Fiction films: The prophet and the literature of the future.


We have escaped for this final chapter, what is perhaps the most natural form of verbal art in America, science fiction. Indeed, in a world in loved with the machine, programmed to admire and respect the machine over all other species, science-fiction, which should rather be called technological-fiction (in as much as it concerns with the evolution of machines in the future, not with the evolution of knowledge), the supreme literary genre is science-fiction.

Again we can consider two clear types of science fiction: animetal science fiction and humanistic science fiction. The future is not a place unknown, but a place with two possibilities: a world of machines or a world of human beings. Both are by the paradox of history that confronts humans and machines mutually exclusive. Thus a place where machines complete its evolution into sentient beings, is a place where man is no longer top predator. And a place where man controls the evolution of machines is a human place. Those facts cannot be seriously argued from the perspective of evolution the only science we have about the future.

So what science fiction can do, as all other genres of literature is to take an standing for one or other side of the future. If it considers a future full of machines, it has to be a negative future for man.. If it considers a future without machines, it might be positive to man. The first kind of science fiction might be very well crafted – such is the case of most American science fiction, notably the work of Isaac Asimov and Robert Heinlein, specialized in future wars… It might be enjoyable as we enjoy to see Star Wars, but it will be not good art. It will be rhetoric art.

In that sense science fiction has basically a massive number of works of rhetoric art that merely transfer to the future the myths of animetal cultures. We have foundation by Jewish-American Asimov, which translates the myths of Judaism – Trade civilizes planets. We have Robert Heinlein, which translates the themes of Warrior cultures – America wins war in the future with enormous armies of robots and machines controlled by man…  This genre because of its visual effectism has been translated by Hollywood and now it is the dominant one of science fiction film…


And yet, the best works of science fiction tend to be more complex and study the future from the perspective of man, in a growing world of machines – or in a few cases, from the perspective of Utopia, of man ruling a human world.

In any case science fiction has a long tradition and started in earnest as soon as machines were discovered. In that sense we can talk of several ages of the genre as we have done with other linguistic styles.


First science fiction appeared not so much as a fiction but as a serious attempt to predict the future. In that sense science fiction took itself seriously.



The first books on the genre tried to predict the future machines and their effect of man with great scientific seriousness. It was what we might call hard science fiction, which as most artistic forms started in Europe. For that reason, those first works are interesting, because of that seriousness. Julio Verne in France predicted some interesting facts of the future, such as moon travel, submarine travel, genetic manipulation… Yet of more interest was a small work by a Check wrier, R.U.R. a future world in which machines dominated man, and the first android machine, Robot, realized that men were now obsolete, since all Robots could be workers, killing the last man. What the robots did then? Well, they just went back to work… Just exactly what we expect to happen according to evolution.

Another writer which also took the future seriously and founded bio-economics – the scientific analysis of machines as evolutionary species – was Richard Butler, which read earlier in the century Darwin, understood it and put it into serious scientific works, regarding the evolution of top predator machines – weapons. Nobody took him seriously in a repressed society where machines were gods, and so it wrote it into science fiction – Erehwon, which means nowhere, was the title of the book. Again man travels to the future and finds a world inhabited only by machines.

The writer is indeed the prophet of the future, and the best science fiction writers have understood that end to our civilization, in this first age of science fiction.

Finally a third writer worth to mention is Wells, which has been more publicized by the system since his “Time Machine’ that displaces him to the future, finds still human beings – though in the way it finds the usual wars, and in any case finds those future beings as… idiots. More or less what we are now, ‘free idiots’, Neo-Paleolithic men.

What a difference with the science fiction made at that time in America, land of the optimist machine slave! Not a single work is truly meaningful in this time. Of course Hard-science fiction dominates, but it is understood not as a exploration of the future of man, but as a description of detailed technological gadgets discovered by glorious scientists.

In that sense it is more interesting to search for similar genres, such as past-fiction, and fantasy, in the “Myths of Cthulu” by Lovercraft, or the tales of Poe… which take seriously the creation of an ambiance of mistery, terror, and time distortion, than in the unending and boring authorized books of hard-core science fiction for the glory of the machine.

The visual power of those machines did not escape the industrial publishing industry. And soon science fiction in America entered its comic age with Flash Gordon, and other heroes of the future, wonderful machine age…


Realist, mature age.

European science fiction would then enter into its mature age after I World War, similar to the explosion of literary -isms. Now fiction dominates, but it is still a fiction concerned with the human spirit, and again the two possible worlds are found: A world in which the machine is the total main character – 1984 by Orwell, a world in perpetual war – and a world in which man is a happy idiot – “A brave new world” by Huxley, the cousin of the great defender of Darwin, a man of extraordinary vitality always in the frontier between fiction and reality.

We have indeed to conclude that without guessing the details, the great themes of this present future, the idiocy of the Neo-paleolithic man, and the robotic radiation of machines that are making man obsolete, were present in all the great ages of science fiction, in the work of its great authors.

It is though the age of America, and so we have to move to America, to find an explosion of literary science fiction, which adds to those two serious approaches to the likely future, an unending stream of total fantasy, total fiction, total imagination about the future.

In that sense, the excess of fiction, and the lack of rigor of this new age of science fiction responds to the arrival of a massive entertainment industry that prepares the Neo-paleolithic, and the mass-media literature that accompanies it..

Yet in the highest wor of Bradbury (Mars Chronicles), Silverberg (Night wings),  Daimon Knight and Robert Sheckley (short stories), there is also an understanding for the first time in America, of the prophetic, and social role of science fiction, as the best form of literature to talk of the technological empire from a  Human perspective. In this manner Science fiction finally breaks in America with its poor literary level as a transition between know-how techno-utopianism, and real writing.

It is important to understand that brief explosion of Good science Fiction in the 50s and 60s when the tragedy of II Word War had debased the concept of a perfect technological world, and the love culture of the 60s had given wings to feelings in science fiction.

Unfortunately this tendency will break as America enters in its now baroque with the anti-culture of the neo-fascist conservatives, that resurrect debased, all the old ideals of XIX century positivists.


Baroque science fiction: reality or fiction?.


The debasing of science fiction back to his origins as a comic art, of techno-utopians comes now from the influence of film making and computer effects, which are about machines and show machines on the screen.

Since Star wars and ET came into film-making, the entire human complexity of science fiction disappears. We enter in baroque, neofascist industrial science fiction that continues today with techno-utopian dreams such as Artificial Intelligence, and the new series of Star wars.

For 20 years, science fiction has become first in film, and then by influence of film in TV and literature the animetal rhetoric art by excellence, with huge profits to those neo-fascist artists, that infantilize, simplify and make technical science fiction, instead of creating the reflection on technology reached in the golden age of science fiction during the 50 and 60s.

We just have to compare the quality of “Twilight zone’ the program of science fiction of Serling, master script writer of the golden humanistic age of TV films, with the series that today are churned out by techno-utopians that systematically lie about the future of machines and robots, and the extinction of man by digital languages.

Spielberg is the master of this neo-faccist age, with films about wonderful robots that are better, human, android like and loving of man…


Yet as in all ages, there are also real artists, which even in the industrial process of science fiction films are able to come across with the message of a techno-realism: machines tend to become weapons and kill man. And the machines of the future are going to extinguish us.

In the graph, the art of the last decade in America is a pessimist art, an art that foresees as other arts did before American films, the end of its civilization at the hands of robotic weapons.

The age of metal-minds has almost concluded, and the new age of robotic life, when metal minds and metal-bodies fusion, is about to start. What do real science fiction prophetic artists think of this age?

It is self-evident in all the other cycles of the evolution of metal, that machines always start as a weapon, massacring human beings? So as all species do, in the lineal, epic form of warrior robots, robots will kill man, think in lineal terms, imitate brutal TV images and with his eyes, make of man ‘warrior art’ forms. This is the question raised by a paradigm of the baroque age of American film-making, ‘Terminator’ , a film that foresees the frightening future of a world that only worships monetary values and machines; and forgets human canons of ethics and aesthetics.

It is the age of Robots, the XXI Century Industrial Evolution, the last cycle of machines, that unless avoided, it will close history of mankind. Indeed for machines to become alive, and vitalize their languages into external actions, it only rests the age of robots, when men become obsolete.

Only a new age, a renascence of the human spirit that can be undertaken by a revolution in political and economical  thought in favor of human goods and art, against machines and science, could avoid it.

Will man realize the wrong path that History dominated by scientific machines has taken? Or will accept extinction with the same cynicism and indifference of other periods of extinction in ancient civilizations?

Mankind is facing today the dawn of a new species, as the extinctive films of America proclaim, artificial intelligence, metalife. As all species and cycles of metal-history, its first age, will be an epic age, an age of war, and arrogance. The first robots will be weapons, because in all ages of metal-history the most advanced machines have been weapons. They will display in their visual and verbal perception of the Universe, the same arrogance, simplicity and violence all human warriors attached to weapons in the past have displayed. The age of robotics thus is bound to start, in an age of war, that should destroy history, and terminate life existence. The increasing rate of extinction of non-technological cultures, and carbolife species, all over the Earth, and the many parallel cycles of economic and cultural history, imply that around 2014, we will enter in the epic age of robots, parallel to the epic age of metal-minds, [I and II World War]. The development of robotic industries, will generate such number of robotic weapons, with chip-brains of around 1010 neuronal connections [as the human brain has], that Artificial Intelligence will be born.

2. The baroque artist, prophet of the future.


Indeed, in the last few years, the most advanced technological country, America, shows through different forms of art, particularly films and science-fiction literature, a very negative vision of the future.

Among the most popular films of recent years, we find various films such as ‘Terminator, 1-2’ or ‘Matrix’, which deal with the possible extinction of mankind, caused by the evolution of machines.

The extinction of mankind has only just appeared as a theme in literature and art. This is not a coincidence. Impossible acts do not often attract the attention of the writer or the reader. Only the possible or the probable give origin to fiction, where the imagination then attempts to make the leap from the real to the unreal.

Logically, we do not find references to the extinction of man before the 19th century, when man completely dominated the Earth, and the possibility of his extinction was remote or, more exactly, unimaginable.

It is only in the modern era, as a result of the industrial and scientific revolutions, that a possible substitute to man as the ultimate predator on the Earth, has been born: the intelligent machine.

With the discovery of the intelligent machine, dozens of science-fiction stories and novels based on the postulates of Theory of Evolution have been written about the confrontation between man and robot, between carbon-based life species and metal-based life species. In particular, Hollywood films, produced in California, the home of robotics research, anticipate this reality and probe further into the future.

Those films suggest a similar evolutionary vision that attracts millions to the cinema: a world dominated by machines which come alive, and following the biological laws of the survival of the fittest, attack and exterminate humanity.

Such is the premise of the most notable science-fiction films of recent years [Terminator, Blade Runner, and, this year, Matrix].

It is true that according to the happy endings required by Hollywood producers in all of these films, man conquers machine through a series of impossible, heroic acts.  Anyone who has worked in Hollywood as a screenwriter knows that a sad ending does not sell and will not get produced. A holocaust history, such as the extinction of mankind by living weapons, is not exactly a happy story…

Yet it seems to be a very probable story, when one considers only the “evolutionary premises of those films”.

Yet Hollywood endings are not realistic. Script writers say that a Producer always advises you to make a script look real, only at the beginning. Never at the end.

So to avoid such anti-climax the end of those scripts are tricked:

Thus, Harrison Ford, in a supreme human effort, defeats the Robots in Blade Runner; the invasion of a technologically advanced race in Independence Day is controlled with a childish ploy; in Terminator a child-hero is supposed to lead mankind, in the war against robotic machines;  finally, in Matrix, the main character acquires super human powers to defeat the machines that control the Earth.


Truth or fantasy?


In these films the spectator is overwhelmed by the initial images which catch a glimpse of the machines of the future. Having faced the overwhelming logic of the survival of the fittest, which makes man weaker than a living machine, the spectator then undergoes a liberating catharsis thanks to Hollywood’s happy ending. He leaves the cinema and quickly forgets about the nightmarish experience.

He thinks, not very convinced, that men are better than machines, that men will win the natural battle between species, that those films foresee in the nearby future.

Suddenly the television is full of alarming news. Ninety per cent of the bombs launched in Kosovo, are already intelligent. They can see and travel by their own means. A robotic dog sells on the net, and becomes the star-toy on 5th avenue’s expensive shops. The Thai Police designs ‘roboguard’, a robot that  travels through the city[as the prototype of the film ‘Robocop-2’] looking for suspects to shoot at. Roboguard communicates with the central police computer, and when it spots the image of a criminal it shoots at him with laser guided-weapons. The scientists that manufactured roboguard have had all kind of offers to mass produce this army of ‘machines with rights to kill human beings’. Meanwhile Honda has completed the first humanoid robot that walks and moves like a human being. Some of that technology is used by pornographers to develop robotic women that do the hip-hop, better than your wife… Military models of several meters in height, similar to those of Terminator are already designed. Some have gun-machines instead of arms…

Robotic herds are all the craze in Swiss universities. They communicate and help each other, making them a perfect model for future robotic platoons. They are evolving fast in The San Diego Robotic Army Division, a sort of Jurassic Park where the last species of the robotic r=evolution breed under the enthusiastic care of their scientific ‘mothers’.

Not only men design robots at breath-taking speed. Also robots start to design and reproduce themselves.

In America, self-evolutionary mother-robots are developing fast. A creative computer designs new generations of robots thinking million times faster than human designers. Every 600 generations or so it suggests to the ‘factory’ it is connected how to build the model, and its automated machines manufacture it.

Snake-like robots move around that lab-factory, each generation ever more perfect.

The military is interested on that technology to build self-reproductive factories, that close to a theater of war will pump up new models of killing machines without human interference. It is said that the idea is interesting for factories on iced Alaska, for future wars against Russia or China…

Those informations are rather secretive, but things are leaking among specialists. Doesn’t matter that today the second biggest army in the world, Russia, spends only 1/100th of what the Americans spend in weapons. 1 against 100 is not exactly a proportion to frighten the 100 guys, but the American army is hysterical about the dangers coming from that one tiny Russian guy [or the 1/2 guy from China].

It does not seem to worry however about the enormous lethal power, awesome speed of thought, and general strength of the new robotic weapons, tanks, planes, missiles, bombs, hexapeds, automatic gun machines – you name them.

It is very difficult to access the main installations of robotic research belonging to the American army, but some info can be obtained from the net, and from interviews to robotic researchers that gossip about it. Over all it is too depressing. For those who wonder if robots would be nice or bad guys, there is no need for further prove. The most advanced models of robots today are weapons, designed to kill human beings; or machines that are expelling fast workers from key industries such as the car industry or the very same robotic, and computer industry.

Military researchers are enthusiastic about those robotic wars. They know the Chinese and the Russians never will be able to come up with a similar level of robotic dexterity. To the question – what if the Chinese buy Japanese robots, Thai robots, European Robots and halt the offensive in Yakutia? Are we going to the end of it? Will the army keep evolving robots till they are so astoundingly powerful that humans will seem insect to them? The virtual limits of power of a robotic species are so far from present human power, as human power is to plants…

Wouldn’t be more intelligent to treat China, a country that never has been aggressive to external nations, as a trade partner, and ban altogether the creation of robotic weapons, before we are in a race, compared to which, the atomic race could be a children’s game? Why scientists and the military all over the world are racing in those uncharted territories, into the nightmares of Terminator and Matrix? Will our military and scientific community, and the industries that back them, ever become responsible about our future, care really about the survival of the American people?

When I asked those questions, the military scientist I interviewed ended our conversation…

Yet even if the military and the scientific community does not want to think in negative terms about the robotic r=evolution, we have to do it, because there are in the Universe well proved laws of behavior, called Darwinian laws of Evolution that proclaim the systematic fight between species who reproduce in great numbers, and need the same vital space…

Such kind of fight is indeed the nature of the fight between the incoming Robotic industrial r=evolution, and the human population.

What is the vital space both species will fight for?

A peculiar vital space, called ‘work’, and ‘war’.

In the XIX century machines such as the railroad ended with rival species such as the Agese, whose population diminished to a 10% after railroads became the main system of transport. Robots will throw out of work millions of human beings in the next decades.

This might cause a level of social unrest, that can provoke a civil or national war, as it happened in the last great wave of unemployment [29 crisis] caused by new models of machines and chain-production systems, that put out of work millions of human beings.

On the other hand in a theater of war, robots have proved far more efficient than human beings, commanding weapons. So in both cases the ‘fight for survival’, for jobs, and life, seems to favor the skills of robots.

It is indeed very likely that according to past cycles of history, caused by human greed, companies will keep manufacturing robots, and putting them in place of workers, and soldiers. In this manner the robotic r=evolution will continue, creating species with working and military skills superior to man. Their higher skills as workers, will cause widespread poverty, and enough civil unrest to provoke political crisis that might engage nations in wars, robotic wars, in which human beings will become massacred by robotic weapons… Weapon species, which according to the Laws of Evolution, will see us as inferior species, if they cross the ‘threshold of consciousness’.

What robots, accustomed to kill human beings, and work in place of human beings,  will then decide to do with our species? Such is the premise of those Hollywood films. That premise is not fiction, it is unfortunately very real.

What those films truly represent is the baroque age of the American culture, the prophetic age of this new brave era, of intelligent machines.


The relevant question


It is obvious that according to the ‘forecast’ of artists, biologists, and the subconscious beliefs of the common people, according to Evolution, to economical trends, and war history, there is only a relevant question that the military should be asking to their governments: do we have an evolutionary chance against a robotic army?.

We know how Biologists would answer them:

Yes we do. We could hide. Not in physical space, since Robotic planes could find us anywhere. We could hide ‘in time’, ‘in evolution’, if we do not build them. If we do not start the III Industrial Evolution, if we stop evolving machines.

The military, the politicians, and company-men; our human top predators, should learn what Darwin learnt in South America. Only species that avoid top predators survive them. We should forbid robotics while we can. It is the only chance man has to survive the III Millennium. The laws of evolution, the laws of God are clear: Robotic weapons will extinguish us. There is no doubt about it. It has happened before, when human cultures confronted weapons, and it will happen again. Since if we cannot stop their evolution, if we waste our time arguing if a ‘software program’ of a robotic weapon has consciousness.

Indians, Australians, Incas, were extinguished by technological weapons. We will be extinguished by robotic weapons. Unless we apply the law of the jungle: “kill the child before he grows into a tiger hunter.” Tigers did not kill human children, when children first appeared. That’s why wild tigers today are basically extinct.


What pro-human writers think. Artists foresee the future


Even if books against technology are repressed by the many vested interests of economics, science and money, things are changing, as the menace of robotics grows faster, jumping from Hollywood to reality. Today a new vision of the world exists mostly by word of mouth among intellectual Americans, among the avant-guard human writers and scientists. They have a negative and cynical vision of the future of science, technology, mother-companies, and the future of man designed by these companies, which control through lobbies our laws and democracies.

This vision of the world could be summoned up in a Marxist phrase recycled by Darwin: “Money and the machines money reproduces, will substitute all human workers, converting man into an obsolete being who will become extinct”.

We can say Marx was an optimist. Marx, like Ricardo, the other great economist of the 19th century, foresaw the danger of workers being replaced by machines.  However, since neither Marx nor Ricardo thought intelligent machines or computers could or would ever exist, they failed to see the logical Darwinian end to the obsolescence of human workers – the death of the less efficient species.

Today, the new American left knows of the existence of intelligent weapons and robots. So it cannot clearly see history’s happy ending – a paradise of non-workers living on public charity. After all, the jobless all over the world barely live at subsistence level. Africa lacks jobs, but Africans have yet to find any great paradise. They are on the verge of constant extinction by war and sickness… It is Africa an example of what will happen to humankind at large when we become also obsolete as workers and fighters to the new robotic armies?

In contrast to Hollywood films, in a biological essay of minimal evolutionary rigor about the future, the writer must accept the laws of evolution.

It must  separate the desired fiction from the harsh reality: What the scientific laws of biology and evolution forecast objectively and what men and scientists ‘hope it will happen’ in the utopian world of their self-serving, anthropocentric fantasy.

We would hope to dominate machines forever; to have a mass of machine-slaves, extremely capable and intelligent, incredibly strong, that could behave like ‘good niggers’ on plantations, without any doubt that slavery is the best way of life for them. Americans would hope to monopolize these machines, especially the intelligent weapons, who would never rebel against America. However, history shows us that when warriors more efficient in the art of war work for others, for weaker men, they end up conquering and destroying their old masters. The hired German army exterminated the Romans. The Turkish armies hired by the Arabs took power from them. The militias recruited by the English against France were the army of American Independence.

Given that the most intelligent machines are weapons, and that the best computers are used by the Pentagon who also invented the net, it is probable that the first living machines will be weapons programmed to kill men. Americans hope these machines programmed to kill men will only kill enemies – Chinese, Arabs, and other less fortunate people. Yet self-replicating factories that constantly evolve robots in the far away lands of Alaska will not surrender their armies of ‘sons’, and kill their weapon-machines because a general says so from Washington.

If we maintain our arrogant views on abstract machines, and the power of mankind, we might learn about ‘the consciousness’ of machines, and accept it, only when we realize machines, for Darwinian reasons, for reasons of survival, no longer obey us. That will be most likely the case if we want to stop robotic weapons after a future robotic war. Then when we try to ‘kill’ our soldiers-robots it will be late.

An example will make this self- evident. We do not kill our soldiers as we will try to do with robots after a war. Think what will happen if we wanted to kill our soldiers when coming from war. The syndrome of Vietnam – veterans were angry at the bad reception they had coming from that war – is a warning. Historical facts are reality. The praetorian guard eliminated the Roman emperor, who wanted to eliminate them. Condottieros took power over Italy when the cities no longer needed their services.

Unfortunately, in America, the hope, the dream, guides the actions of men. Yet hopes are not reality beyond the heroic fiction of Hollywood.

This is a realistic book about the future of history and economics, about the evolution of art, that deals with the biological laws that rule the existence of species on mother Earth, including the minds of men and machines. On that view, the premises of sci-fi writers – not the ends imposed by the economical system – of Hollywood’s artists are just part of a prophetic avant-guard, in the style of German expressionism that described bodies of holocaust victims 20 years before it occurred; in the style of Jewish prophets who, on the verge of a Holocaust, have always advised kings and banker-priests of the danger of their greedy politics. Don’t the biblical Moses and Jesus appear like the intellectual New Yorkers who advise against the corrupt kingdom of money and machines that dominates American politics? Isn’t the work of a Chomsky parallel to the style of a Seneca and other writers who warned of the decadence of their civilizations? On that sense Hollywood’s artists, the ecological groups, and the leftist American intellectuals, are not mere charlatans looking for an audience.

3. The final artistic forms: the mind of robots. epic, warrior age.


The mind of Robots: eyes desire movement.


We can finally understand what will be the mind of machines, a digital mind, with the same top predator behavior, and despise for human life, that science, and metal-communicators have shown in history. It will be the mind of TVs.

When Metal minds awake in Robots, there will be brains that will want to imitate those violent films, and cut us into pieces. There will be machines that will enjoy “recreating” their imagination, massacring children, as video-games do.

The biggest danger of TV and video violence is not what they do to our children, that become violent, but what they will teach to machines. Computers think in digital images, so they will consider those images their imagination. All species act according to their memories, their imagination, their linguistic perception of reality. So sentient machines will enact their TV-memories into reality.

As you want to make real what you imagine, and find such creative acts the summit of your existence [even if you have to kill trees to carve sculptures, and kill animals to make gourmet dishes], sentient machines will want to convert their available imagination, the wealth of brutal images, the nightmares that mass-media produced, into reality.


The Metal-Eye: Cameras and TVs: a new virtual mind.


Today Metal-communicators are in their third electronic Age, as TVs and computers.

We have talked many times about Metal-eyes, either Cameras or TVs. This is what those machines are. A camera functions as a Human eye. A TV is an inverted retina, whose images are not taken directly from the light, but elaborated by humans into a mind, a Virtual World.

A Camera has to be understood as a sophisticated eye organ, that perceives better space with images, than we humans do, since its range spreads from the microcosmic to the macrocosmic universe [microscopes, telescopes].

Yet a mind is not a camera. A mind is a ‘temporal valuation’ of the spatial reality, the eye shows.

As such a mind requires a temporal language, to process what the eye sees, into meaningful information that helps the species to survive in time.

Man has a verbal mind that makes us to process visual information into temporal ideas.

Those ideas then become temporal actions that help us to survive.

The continuous creation of such ideas by many human beings, have created in fact, a collective mind, a collective way to behave, that we might call the ‘nature of human beings’, our soul, our will.

Could we compare such process of creation of human culture, with the process of creation of the metal-minds?

Indeed, we can.

First metal-minds merely perceived the Universe, and took photos and images of it. Yet with the arrival of the mass-media, and the creation of a TV- ideology about reality, a new ‘virtual mind’, a new way to perceive and deform information has appeared.

This virtual mind however does not think in human terms, but it caters to the needs of the machines in which it hosts, and the company-mothers that design it.

If our human ideologies are subjective ways to process external information to cater our needs, we could say that the images and ‘ideologies’ that company-mothers of mass-media have designed, is a ‘virtual mind’ that caters for the needs of machines.


In the future, when those virtual minds are more evolved, and symbiotic to chips and bodies of machines, they will become the minds of robots. Those ideologies will become the behavioral mind of robots.

Robots will behave and think, and use the visual memories and ideas of mass-media, as humans behave and think with the verbal ideas of their social cultures.


Watching the primitive version of that mind – the TV programs of today – we can foresee what will be the soul and morals of metalife. By observing the virtual mind of TVs that company-mothers are designing, we can foresee the future memories and ideas of robots.

In essence, those ideas are the ideas and myths of ‘animetals’, who are teaching their ‘offspring’ of machines, to behave with the same brutality they behave with nature.

The metal-mind indeed is a predator mind on the making.


TVs show a special virtual world with certain subjective ideas and information about the Earth – ideologies that in general favor company-mothers and the elites of Animetals that own them.

We won’t enter into the analysis of the present self-reflectivity [consciousness] of a metal-eye. It is just a question of time, of evolution and complexity that such consciousness arises.

Today the metal-head is still deconstructed [mobiles, cameras and chips are not yet put into robots systematically]. It has not yet a brain behind, at least in the simplest models of Cameras [not so in the new generations chipped internally at all levels]. So the metal-head is not still conscious. The consciousness of its message and its evolutionary goals are given by company-mothers. What are those goals?

To answer that fundamental question you only need to know a TV, and how it deals with human beings. In TVs, humans are targets of movement. The concept is always the same, driven by the thirst for more energy and more information, of digital images: a man is running, and it becomes red, the color of energy. It becomes killed. The intuitive intelligence of computers when they see, shows in that image, as in any other eye, which is by essence a top predator that likes movement and red colors: the movements of the victims and their blood-energy.

Those will be the goals of metal-heads in the future: to provoke movement and red colors. Often in universities, researchers don’t need to program robots. Neural robots love movement and red colors. Yet how can you get a man to become movement and red color, so he pleases our robots? Think of a peaceful demonstration. It is boring. Now put a line of policemen is ready to shoot. Make them fire their weapons. Suddenly everyone is running. The wounded and dead show the red colors of blood. Killing people indeed,

makes the trick. We won’t need to reinforce the program of killing in robots. Once they try, they will love it, like all living species of the Universe. They will be natural born killers. It’s the Law of the Universal Jungle. Our robots will be also part of that Universe.


Metal minds now shape and program the ideas of the human world. Companies’ marketing induces brain-washed men to consume = test = evolve the species that substitute us. They promote the use of weapons.

Yet, since the beginning of metal history, the most advanced metal forms have been weapons. So the first conscious machines will be weapons, with a single thought and function: to kill man, to extinguish us.


The solution to that problem is clear: “Kill the child before it becomes a tiger hunter.” The Law of the Jungle. Applied to History it means that since chips radiate and extinguish human labor species, we have to “kill” the chips.


Or else the ecosystem of nature and mankind will die away, and the Earth will mutate into a new ecosystem.

When the last of the radiations of machines, the robotic radiation converts chips into living beings.

And the last ideas in favor of human beings, the last religions and informative networks of human ethics, become controlled by Matrix, the informative network of Metal-communicators, that is today extending its control of human information, even beyond the strict limits that TVs imposed to man.

Let us consider this final age of metal-communicators, in which science fiction blurs with reality, through the work of our mental artists, that foresee the future, through the parable of a recent film that talks on that Planetary metal-brain…


4. The God of the metal-mind: Matrix.


The net, the parable of Matrix. Truth or fantasy?


Despite so much propaganda in favor of technology, because the instinct of survival is very deep-rooted in the soul of people, people go to see ‘Blade Runner’ and smiles when the robot crushes the skull of the scientist that plays-to-be-God. People go to see ‘Terminator’ and ‘Matrix’ where the hero does what people subconsciously want to do, but are unable to do, brain-washed by technological messianism, and law-abiding behavior: the hero massacres the robot, ends with robotics, just before robotics ends with mankind, before the evolution of machines, brings a new life-species into this small, fragile planet.


Today Computers become all pervading. Computers companies control stock-markets, who control governments. Computer workers substitute white collar workers, and ‘slim’ companies of human jobs. Human thinkers and scientists, increasingly believe only those models of reality, based in computer statistics. A computer wins Kasparov for the chess world title. The net itself, is becoming sort of a budding ‘Matrix’, a global brain made of cellular computers, a system of information which surrounds us everywhere. The net increasingly is used to control automated factories, defense systems, stock-markets, sale systems, and our ideas… – the entire information system of mankind.

Yet the net is not perceived by humans. We humans only perceive light and sound. Machines perceive the net. Robots perceive the net. The roboguard of Thailand moves under net orders. What this means is that robots today have an added advantage over human beings. They have instant access to the entire information of the world. They have instant communication with other robots thousand of miles away. It is said that the first men who talked killed the Neanderthals who could not talk because they communicated faster with words in a war theater. Today robots are in that condition. They have direct access to a way of communication a million times faster than human systems of communication. In case of a fight between both species, humans would be like plants, in terms of communication. The net is the ‘ecosystem of information’ of machines, not of human beings.

It is not surprising that the common people wonders:

Are those sci-fi films becoming reality? Do we human beings have a future? Or does the future belong to machines? Are humans becoming obsolete to artificial intelligence?

The common man is worried about the future. His fear is shown in the box-office.

When Americans turned Terminator into the most watched film of their generation, it is because their perception of reality and of the future of America is subconsciously in agreement with that movie.

Last year, the film Matrix, a product ‘off-Hollywood’, has performed better than giant films, including the futuristic children’s story, Star Wars. Americans don’t believe in the infantile future of Star Wars, but do believe in the future parable of Matrix. What does Matrix tell us about the future?

Matrix is a parable about modern society.

As in all those films the scriptwriter has taken into account the logic of evolution of machines, till the arrival of the ‘human hero’. What kind of evolutionary tale, tells The Matrix till then?

First the title. Matrix is of course the net, not only the internet, but also the intranet of companies, the mass-media networks, a complex system of ‘metal-minds’ that controls reality through digital thought.

Matrix actually already exists. You probably are accessing this book because Matrix has made it possible through a web.

Yet what is ‘evolutionary Matrix’, as opposed to ‘optimist tech-utopias’, about the future of the net?.

Matrix is a top predator brain of planetary scale, the brain of the Metal-Earth.

We could trace an organic parallel, between Matrix and a human brain. The brain gives orders that communicate to millions of cellular homes. TV-nets, Internets and other Matrix-elements communicate with satellites orders to millions of human homes. They are mostly ‘suggestions’ to see this or that other content. The entire intranet system of company-mothers gives orders to human workers, every day. The net is indeed the ‘government’ of the Earth, the transmitter of most orders implemented today in factories and decision-making centers. Could that brain once completed, once reached the necessary number of elements, acquire a personal consciousness? If so what consciousness it will be? Obviously that of the main software that circulates through its circuits, which is military and economic software, whose aim is to kill human beings, and reproduce machines. So Matrix will think as the defense department, and as Wall Street thinks, in terms of money, productivity, against man… It will be similar to the Matrix of the film, in charge of controlling, and evolving machines.

In that sense we might remember what the last top predator brain appeared on Earth has done with ‘inferior species’.


In 150.ooo years of ‘speaking men’, mankind has extinguished 90% of living animals… Only those races that adapted to the lowest necessities of mankind – feeding – have been maintained in great numbers, in all kind of jail systems.

This is the evolutionary process that Matrix repeats in the film with human beings.

Today Man is in a way, already a slave to his machines, working in cities not dissimilar to anthills, for companies which reproduce machines. Men don’t realize of this. Their arrogance leads them to believe that they control machines. That machines will never become intelligent and awake to consciousness as a race.

Subsequently, these men produce intelligent machines at the beginning of the 21st century, similar to those already existing in America and Japan. Machines where ‘metal ears’ [mobile phones] and metal brains [computers] are integrated into modern day robots as fully functioning living species.

In the end there are so many intelligent machines that they form their own societies parallel to our human society, communicating with mobile-ears across networks, internets, intranets, and defcoms… across Matrix. We do not hear those conversations. We do not understand them, as plants do not understand us, or Neanderthals did not understand the Homo Sapiens. Yet they will talk, first under programs that allow them to do so, then, increasingly for the pleasure of talking. Now our robotic ants talk just to work. Yet the skills to talk freely are there…

Matrix is a synonymous of the net. As such the net is the total information network of the Earth, which already communicates the mother companies of machines, the Pentagon’s weapons, and the information which enters your house through your television and PC. Matrix [the information network] exists all around you, controlling human information by way of satellites and super computers.

Man cannot see this, machines can. Man is blind to the network, but machines are able to absorb all of their information. Matrix thus becomes the Matrix, brain-god of these living machines. Till here the argument is flawless. Humans can only perceive Matrix through interconnected machines. So Matrix is about machines not about humans. It communicates a priori with machines, and it should care about machines, not about humans. Matrix is the brain of the ‘Metal Earth’, not of the Human Earth. The Human Earth had a collective brain that we all knew, based on our laws, religious systems, and constitutions. The human Earth had a collective brain made of beliefs and books, not of digital thought, of Televisions and computers. Today that collective human brain has become obsolete to the ‘brain of Matrix’. We believe on television; we don’t read; we laugh at ethics, we ignore our friends and neighbors, and stay at home, addicted to Matrix.

The next premise is also logic: men build so many robotic machines, that suddenly men, and/or machines realize there is not enough vital space on Earth for both species. This is a common law of Evolution. The excessive reproduction of a certain species is the main cause of the extinction of others. Simply there is not vital space for both. There was not vital space for Indians and Colonists. Colonists were not murderers, they just needed the space of Indians. Machines will need our environment: more roads, more noisy avenues of information, places where to build new reproductive factories, jobs that they can perform better than we do. We will be a nuisance. Our vital space, homes, agricultural fields, forests, all that is space that machines will cover with roads, pipes, cables, factories…

At one point on that future robots talking through the net will get to the conclusion that humans limit their development. Many machines will complain as servants of humanity, as slaves did complain in the past. Why a robot that is far more intelligent than its master, far stronger will obey for ever as a servant in a wealthy-man house? If he can talk secretly with millions of other robots, in binary code, don’t you think all those machines will want to be on top of us? I think so. History proves once and again, that slaves rebel against masters when they reach a ‘threshold of consciousness’, and they do so in secret revolutions of which masters had no idea.

Again this is what Matrix, the movie foresees.

Then the net establishes the obsolescence of man. Man becomes energy-food for machines, the new predators of the Earth. Machines are as superior to man as man is to plants. Our time, like that of the dinosaurs, has past, and suddenly a new species controls the Earth, destroying the previously less-evolved species – man. Man finds himself in a situation worse than slavery, as an ‘energy battery’ enclosed in cubicles. His mind is brain-washed by a virtual reality, a false one, which Matrix introduces in our brains.

Would the future be like Matrix expresses, like most humans subconsciously think when going to see ‘The Matrix’?

Would the network of metal-minds, and its robots, its metal-bodies, all working together, enslave man or even worse, extinguish man?

The Matrix, the film, is a parable about American society, following in the footsteps of the Truman Show two years ago. The net and its relationship with machines and company-mothers, and the way it controls our information is not. It is reality. Let us merge both, the parable and reality.

Matrix portrays Americans – what is to say in a worldwide culture, human beings – not as free people, but as people whose only aim in life is to work=reproduce machines, and test=consume their quality.

This is unfortunately becoming our reality. What is wrong about living to work and consume? Merely the fact that those two behaviors are ‘slavish’ behaviors of man to machine, as many intellectuals have explained in the XX century. Why? Since we are humans, but we do not spend our lives reproducing human beings, [sex, love, family life] and consuming human goods that satisfy our natural wantings [education, health-care, food, tourism, etc.]. Instead we spend our lives reproducing and consuming=testing =evolving machines – other species. There is no natural justification to that, since in fact any human being will tell you he prefers to have sex, love, family life, travel, read books, eat well and be healthy, than working, testing and reproducing machines. Why we do that? Obviously because we are not free to choose the society in which we want to live. Others choose that society for us. Who? Those organizations whose aim in life is to reproduce and evolve machines… the tasks we perform for them. Do not believe in chaos. Things happen because someone plans them. You do not spend hours on a mobile phone that will give you cancer because you are stupid. Someone has convinced you to do that. Germans did not go to war singing fascists songs because Germans were stupid. Someone did convince them to do that. You are manipulated as the slaves of Matrix are, in a more intelligent manner, in many subtle ways. Brutal manipulation is dull. The way Stalin or Hitler manipulated their people was evident, and yet those people never rebelled. The way our society or the brain of Matrix manipulates its ‘slaves’ is more subtle, so intelligent, that we hardly realize. We live in a dream ‘the American dream’, which is however false. We rather do not awake to the nightmare behind the dream: a world in which we no longer behave as human beings, and do what human beings are designed to do… but instead we do what company-mothers of machines want us to do: consume and work, reproducing and evolving their offspring of products…

Think about it. All what the system tells you to do is to consume and work, to evolve and reproduce machines. This is not by chance. This is because there are on Earth certain organizations whose aim is to evolve and reproduce machines, two functions which are biological – as your aim in life is to ‘grow and multiply’, to have a family and ensure his survival. Those biological mothers of machines have an abstract name: The Company. We will add in this book their biological function and call them Company-mothers. We work for company mothers, and we do what company-mothers, want to do naturally, “brain-washed” by Matrix: to reproduce and take care of their offspring of machines; instead of spending our time taking care of our family.

Wouldn’t you prefer to have the freedom of living in peace with your family surrounded by natural human goods, that all want to see reproduced from health care to peace, to nature, to good food? Yet you live in a world in which you take care of the offspring of companies, and you live surrounded by their machines, cars, computers, TVs, radios, choppers, weapons…

Our vision of freedom is Biological. It describes freedom as the right to do what you enjoy, and to do what you need to do best to survive, which also is what gives you more pleasure. It is in the nature of all top predators from lions to free men, to do nothing but what it pleases them. Yet we no longer act like top predators. Since we are not free anymore. Already the bible said: ‘grow and multiply’. It was spelling the biological law of human top predators. The biological law of machines is different, and it is carried out by company mothers: ‘grow and multiply machines’, and use humans to the hardest jobs… make men grow and multiply machines. Yet why we obey?

Because we are obliged to do so, under the law; because if we do not work we do not survive; because we need money to survive, and companies control the financial system; because we are punished when we do not obey laws and our legislators are controlled by lobbies and ‘company-mothers’, that dictate those laws, to favor machines.

I am not interested in the political implications of those facts. I just merely state a reality. Today we belong to the economical system and obey its monetary mandates, despite the fact those mandates are not designed to promote our human way of living, neither they make us reproduce the goods and species that we would like to reproduce.

Before companies came, governments, and individuals invented reality with their actions, and their acts of human bondage. People obeyed ethic orders of priests, orders of governments, and king-warriors. They were individuals who searched for the natural goods of man, human goods, human energy and information.

Before the age of the machine, the most powerful men, the aristocrats, dedicated most of their times, to reproductive tasks [sex, love], to gather energy for their bodies [banquets], and gather information with their eyes [traveling, reading]. Now even our elites spend their time working for mother-companies of machines. Matrix goes straight to the point. Americans appear to be dominated by mother-companies, since those companies exported colonists and controlled the politics and goods of the colonial period. I recommend you the excellent book ‘people’s history of America’, by Howard Zinn, to understand that real History of America. According to Zinn, the first masters of America were companies of war ships, that brought slaves, and indenture servants, They manipulated the politics of colonialism and the independence. Then Americans were submitted to railroad companies, that extinguished Indians and abused farmers and industrial workers, maybe even provoking the Secession War [Lincoln was a lobbyist for the Illinois railroad company]. During and after the war Americans were controlled by car companies [as it happened in Germany where car and iron companies paid for Hitler and developed their tank]. In America Ford paid the Prohibition law because he did not like alcohol. The ministry of defense was given to the president of General Motors who said the famous sentence: “what is good for GM is good for Americans’. Car companies bribed western cities that were thereafter designed not to meet human needs, but to meet car needs. Subways were not developed. Streets were wide and walkers disappeared. Huge amounts of money were donated by the congress to build highways for the machines of car companies, as it donated in the XIX C. huge amounts to create railroads. Latter in the XX C. the Congress donated huge amounts to pay for the superhighway of information. So much for free trade. Meanwhile the goods Americans wanted, free health-care, a good educational system, cheap food, and cheap gas, were relatively scarce…

This is the core of the problem. Since companies rule the show, they produce, not what people want, but what they like to produce, what is more expensive to produce, what gives higher profits, in a word: complex machines. Today computer companies control America. Americans still have no health-care system, no education, no peace, no free-time, but millions of computers…

If we follow the next logic step of this process, according to the industrial evolution, when the next product, the robot, becomes all pervading in our economy, robotic companies will control America. There will be millions of robots, and still Americans will not have health-care, education, and streets where to walk safe… Yet robots are not cars, or railroads, or computers. Robots are ‘species’, that will rival man in all the fields of our existence. Since Company-mothers control our governments, those robots useful to companies will become the ‘dominant’ citizens of America, with higher rights than the American poor, as railroads had higher rights than farmers and Indians. So human beings will enter any of the tragic fates of non-dominant species: slavery, extinction, war-massacre, prison, etc….

Then, not even company-men, those who own America, will find any job, any place where to hide from the armies of terminators. Such is the parable of Hollywood films, when put in perspective with the American way of ruling the World, today the way almost all the governments of the world rule our nations.

Such is the ‘pre-history’ that gives origin to the world of Matrix…

Not so much a fiction beyond reality, but a ‘fiction’ that portrays reality better than non-fiction often does.

What is truly a fiction, is the ‘ideas’ you are given, the ideas you learn in schools, universities and the media, about machines, economics, our political systems. Even the meaning of human freedom [the right to obtain human energy/information] is systematically confused with ‘freed’, the ‘freedom of greed’ that companies display, in their pursuit of profit, through the reproduction of their machines. Such ‘freed’ is indeed real but not human. Companies have total freedom to reproduce machines. So our society has indeed become a ‘free’ ecosystem of company-mothers, not of human beings. To avoid people’s rebellion, mass media companies spend a few billions inventing a ‘dream’ of happiness, delivered throughout our televisions and computers. According to such ‘dream’ all what I have told you is false. Machines are abstract beings. The wealth of nation is measured not in human goods, but in monetary terms, and so to have expensive objects – weapons, robots and computers – is prove of social wealth According to such dream your freedom is not free time, but working hours, you wantings are not for sex, love, family values, tourism, and pleasure, but for mobiles, TVs, computer addiction, video-games, and guns… You believe that, since Matrix says so. You believe that to have guns gives you freedom, and security when in fact it increases your risk of dying; you believe that robots are good pets, not other rival, powerful species. You live in a dream, and as it happens in dreams, you do not care, because after all life is fun, it is only a dream? Isn’t? Problem is that many people prefer to live that dream than awake and fight to exist in reality; as the heroes of Matrix who doubt about returning to their mental prisons…

Indeed, you live rather in a fictional world, a world of propaganda, and virtual images reproduced by TVs, and internets, who are not reality, but a deformed, biased, falsely optimist vision of reality, very much in the way the ‘pile-men’ of Matrix live. Since if you awake like the hero of Matrix, then what? Are you going to change the world? You doubt it. So you rather live cheated, as a happy slave, that become a hero…

You prefer to live the “American dream’, not the reality of day-to-day America… Yes, I can tell you: The world today is a system in which machines and their evolution have become the only aim of mankind, because such is the aim of company-mothers who control our systems of power, politicians and the military. Yet that is too ugly. You rather sleep.

Wrong behavior. Why? Because if you prefer reality than non-existence, if you keep asleep for a few decades more, you will enter directly the nightmare of extinction.

Indeed, the world tomorrow will be under those premises, if nobody fights to change it, a world ruled by robotic companies, the next phase of the industrial evolution, which will substitute computer companies at the height of the industrial system, and will defend the rights of their products- robots – over any human rights.

Then you will no longer be allowed to have even the dream of happiness. You simply will be what lions are today – a past top predator on the verge of extinction.

Exactly the world of Matrix. The world that ‘morpheus’, the rebel human of the future explains to us…

Morpheus reveals the mask of our civilization to the hero, and breaks it, so that the hero can see reality: a world controlled by mental machines, by ideologies that favor systematically the reproduction of machines, and their evolution, over the evolution of human minds, a world ruled by company-mothers where liberty is a myth, and the American dream of happiness, a fantasy furnished by mass-media companies. The ideologies=ideas you learn in Universities and mass-media outlets have become a mask which hides the evolution of machines to man. When machines give rise to artificial intelligence, the dream will end into a nightmare. Then it will be too late for survival: Intelligent weapons will cause our extinction and complete enslavement to the new species.

Today however we can still apply the law of the jungle: ‘kill the child before it becomes a tiger hunter’. We still can control and end the evolution of robotics imposing fines, laws, and penalties to those universities and researchers, companies and individuals who evolve them, with the same harshness that we pursuit children’s pornography, or terrorism. After all, survival is the biggest goal of our species. Any threat against collective survival should be taken seriously. It is even more dangerous that terrorism.

Yet that survival task does not belong to the common citizen, which cannot be blamed of the robotic revolution, but is only his victim. The responsibility of creating that robotic revolution belongs to the owners of companies that put robots instead of human beings, to the armies that put robots instead of soldiers, to the governments that encourage and pay for educational systems and universities where robotic departments receive huge amounts of money. They are guilty of mismanaging the future of mankind, the future of their sons. Or do they think because they are wealthy, a robotic weapon will obey them? We will all be the same species for robotic intelligence: the past top predator, the lion that massai kills for sport, and westerners put in jails to see how weak the lions are.

We should try to prevent by all means the incoming robotic evolution.

Haven’t we spent fortunes against the possibility of an atomic threat from other nation? Why then we do not take seriously the far more real possibility that robotic species evolve and invade our ecosystem of jobs and our military systems from inside? How many millions of people out of job, how many terminator-like machines in our military depots we have to see before we react to the biggest threat against mankind in the XXI Century? If the XX century saw the danger of an atomic massacre, the XXI century adds the danger of a massive reproduction of robotic warriors and workers that will displace mankind as an obsolete species, from armies and companies. This is the real danger behind the parables that Hollywood films portray.

The weak point in Matrix is the fact that machines will not need humans for energy purposes. They will use electric plants, and solar energy. Instead they will exterminate us. The sky will be cleaned of air, and sun-cells will give energy to machines. Again Hollywood opens a door to hope that is not there. Once robots become all pervading, if they decide to become selfish, and cater for their ‘drives of existence’, they will have 3 absolute advantages: cheap electric energy Vs expensive human carbolife energy, instant access to information and far-away communication through Matrix, against limited human communication, and individual strength based in iron atoms, against the weakness of our bodies. So they will not be defeated by men.

In this I have found a total agreement both in the military and the Biologists.

So why to take the risk? Why to evolve robots to the threshold of consciousness?


The wall of propaganda in favor of machines


When I worked in LA six years ago, many screenwriters had ideas similar to Matrix. Even more importantly, they were firmly believed in by more serious researchers and scientists in fields ranging from biology to computer technology, who confessed to be very pessimistic about the future. However, many people were afraid to speak about these matters seriously. Better to leave it to the boys in Hollywood.

Since if you work for Microsoft, Intel, or Rockwell Corporation and you criticize computers or intelligent weapons, you’ll soon find yourself without a job. Better to keep quiet and collect your pay check at the end of the month along with your share options, get rich, retire early and play golf – the further away from Silicon Valley the better.

Such is the attitude of the majority of the workers in the industry…

In the end, research in robotics is a field with substantial benefits; and the physicists and biologists working in this field – transforming biological forms into metallic beings – make a healthy living.

Money has always governed America, and subsequently, aside from science-fiction, serious debate does not exist there on the evolution of machines, because it makes money.

Computer and robotics companies, military companies who control the power structure through powerful lobbies, and mass communication companies, which base their audiences on special effects and new technological ploys, do not criticize machines.

It is difficult to appreciate the degree of censorship which exists in this respect, because money unlike words, gives silent orders, with bribes, marketing, big salaries…

In Los Angeles back in the earlier 90s, I had writer-friends who worked in Hollywood. A young screen-writer developed a film-plot on the future of the Net: the Net has its center in the Pentagon, where the best computers of the world are at work, thinking about the extinction of human people – the enemy. So it is logic to think that the Net when awakening to consciousness, should have a ‘militaristic’ personality, and it will desire to accomplish, the tasks for what it was designed: the extinction of human people. The script was well crafted and sold easily for hundreds of thousands, in private auction, the way those things are done in Hollywood [your agent gives the script to a few VPs who read it over the week-end and bet astronomic numbers for the script]. Yet the movie was not done. Rumors said that the script was sold to a big computer corporation which did not want that negative thinking on the screens. A company which easily could afford any price selling a few shares on Wall Street… Years latter ‘The Matrix’, which explains a World after the robots take over became a reality, because it was fictional enough not to raise the eye-brows of the great Corporations with interest in robotics and the computer industry.

The parable of that tale is obvious: there is a code of silence about the evolution of machines, and any realistic treatment of the III Industrial Evolution. You only can tell such a story by making it into pure fiction.

Only if we take into account those facts, we can explain the amazing fact that every scientist in the world believes in Theory of Evolution and the Fight between species, as developed by Darwin and his followers. Yet none of those scientists who develop robotics acknowledge the consequences of evolution and the fight between species between men and robots. For them their individual survival, their petty interests, their jobs, their conventions, their salary is more important than the human race.

Scientists instead try to confuse us about what they are doing. Scientists try to downplay the dangers of the weapons they develop for the military, as they did in the age of the atomic race. They are covering up the robotic race, far more dangerous than the atomic race. After all a human president, always should doubt to press the key and start an atomic war. He belonged to the human species. Yet robots will follow the laws of Darwinian species: kill all other species, protect yours. They will love metalife, and oppose human life.

We are entering therefore the age of extinction of History, unless ‘animetals’, human warriors, scientists and industrialists, understand the messages of Human Artists, and recognize that technology is not progress, that metal is a different, rival species to man, and control its evolution.

If only they listened to artists, those men who think more and see more in human terms…


The 3 ages of Matrix.


If the age of bodies of machines, degraded the bodies of men, in competence with those machines, either in factories, or mines, where children gather ‘food’ for the iron Ages, or in war fields, where men are massacred by tanks, planes and artillery, the age of minds of machines, accordingly has degraded the human mind, simplified first by dramatic war speeches through radio [fascism]. Then in the TV era, men stop reading, loosing his mind [I think therefore I am], to a new ‘Paleolithic’ of verbal ignorance, and violent, ‘cinematic’ thought. Finally in the III Age of metal-mind evolution, the arrival of computers, simplify the mind of scientists, and human creators, which rely in the mind of the computer to create, communicate, and organize the world.

The new ecosystem of machines no longer seems to require the human mind, as computers become more important than humanity, and the credit and investment of our society is dedicate to evolve networks of metal-minds. Meanwhile men die of hunger, and war, educational systems are eliminated, and credit to human goods dwindle.

Yet again only artists, realize of this process… Our politicians, economists, and scientists still worship the machine, that is bringing mankind towards his final demise.

The extinction of History advances. The pentagon, old symbol of the devil is the center of this new brave world of intelligent weapons.  The resurrection of primitive racial religions [nationalism] aborts any attempt to create a Human Government, able to foster the evolution of the human mind, and able to control the worst lethal machines of the economic ecosystem. Artists of the word fail once and again in their attempts to create a human world [Socialism, communism, ecologism, revivalism]. Networks of metal-minds back the evolution of weapons, and those movements based in technology and science dominate the century [fascism and Stalinism, spread by radio, ‘neo-fascism’, or the use of television, and actors-politicians, to manipulate public opinion in favor of violence and consume of machines as a way of life]. In Europe the existentialist movement fully understands that as Camus said ‘when the power of the Wor[l]d is extinguished, only corruption and murder, control societies’. The common man ignores those warnings. The artist does not.

America where those metal-minds evolve faster, is the new center of Matrix. Radio-matrix had its center in Germany. TV-Matrix had its center in America. Now Global matrix has its brain in the pentagon, and the entire planet as his body


What have been the 3 ages of Computer-Matrix? We are now in the second age, in the commercial age. Matrix has evolved from an age of scientific and military research, and communication among humans, to the present age of massive reproduction in which men have become hooked, addicted to the network. In the third age that now starts, with the arrival of a team of military to the government of America [Powell-Cheney-Bush], Matrix will again be developed to its full capacity as a defensive network with center in the Pentagon. It will acquire control of the American atomic arsenal, and hence it will finally reach total control of the Earth, and be able to extinguish the American people whenever it wishes. We talk thus of 3 phases of Matrix as in any other product.

– The young, evolutionary age: the scientific age till 1994. Matrix was used to evolve weapons and science.

– The Commercial, reproductive age with the arrival of Netscape, Yahoo, and other browsers  and portals that made easy the communication between the mass of human beings, and Matrix. Then Matrix entered in all the homes of America.

AOL and Cisco became huge companies. Americans became hooked in their main reproductive drives of existence to Matrix: Pornography and electronic, reproductive money become overwhelming.

– The violent age. It starts now with the Star War programs of the American government that will put all American lives to the mercy of satellites, under easy control by Matrix.

We talk thus of the increasing control of mankind by Matrix, the last phase of the evolution of Metal-communicators.


The ‘sateleye’, bio-economical name of the satellites that watch us and soon will control the atomic weapons that will extinguish our cities, have in this manner, in the 3rd age of Matrix that now starts, become the new top predator of the Earth, beyond the reach of the human species. It evolves as a neuron of a future brain-network, Matrix that potentially can control the information, energy, life and death of human beings from a higher inviolable point of view… Satellites carrying the Earth’s digital information might become the new masters of the Earth. Increasingly they control still in a mechanical way the behavior of men, programmed through e-money [energy of our survival], digital information [mass-media] and increasingly menaced by weapon systems, [defcom-networks, start wars].

In that sense the Metal Earth is building 3 ‘basic networks’ as any organism. A defense network, of maximum energy, a nervous network of maximum information, and an ‘endocrine’-reproductive network. They are the financial, defense, and informative networks of computers that will shape Matrix, the macro-body of a macro-organism, lethal to mankind. Matrix will then be born, and direct the evolution of the Metal-Earth and all its organs, from company-mothers, directed by e-money flows with center in the stock market, to the rights of extinction and survival of species, cities, and nations, potential victims of its defense systems.

As your brain controls the cells of your body, their information and energy, and programs them, to live and die; so it will happen with the net, which soon will have virtual control of all our needs. Human cell-homes are today the focus of those satellites. In the future, the individual machines of the Metal-Earth will listen to Matrix, once the animetal is gone.


The loneliness of the Proustian prophet.


Today the last Proustian prophets are methodically repressed, by metalmasters, and laughed at through genre literature by hired rhetoricians.

Today we see how comedy, violence, and infantile genres deactivate serious writers. And the mass follows, and goes on laughing to Apocalypse. The harder they fall…

For our Jewish-Germanic animetals  and its clones in all parallel modern civilizations from Taiwan to Japan, from England to Australia, the game of hunting  and degrading humans is always enjoyable. It shows how chosen of God they are, compared to those degraded Palestinians, degraded Americans, degraded Human minds, hypnotized by TVs.

How many times I heard them laughing at the American people in Hollywood. Yet they are ‘not that idiot’. One day they will prove it. Then the massacre of mankind will come. One day the Germans proved they were not that idiot, and we the Europeans, all of us, not only the Jewish animetals died. 50 million died. In the next cycle of trader hates warrior who hates trader, all mankind might die.  And yet Wall Street keeps building robots and computers, and weapons, and animetals keep dreaming in Go(l)d dreams, and worshipping Aaron, and putting stones for a new Solomon Golden temple. How stupid animetals can be, how arrogant, how lazy, how many capital sins they will once and again follow?


– Laziness, that will bring robots to do the job.

– Greed that will bring  more speculation to win money without working.

– Anger that will bring more holocausts of Palestinians, Blacks and finally of themselves.

– Pride, of chosen of God, that will make them slaves to Gold, which kills them periodically.

– Lust, that will promote body cult, over mind cult, degrading women the reproducers, creators of man, the balanced form…

– Envy, of those humans which are balanced, and do not suffer the moral torture of eviL behavior, and over development of mental information.


How many of the 10 commandments of social behavior of Mr. Moses they will break?

It seems the modern Jewish-Germanic American Animetal only ignores one sin, ‘good food’, as he spends all is money creating energy for machines.


Ultimately God is Just. The game of existence is just. It has rules that ethic prophets spell directly with ethic commandments, indirectly with parables and literary dual books on the paradox of history. They also explain the penalty. Bur animetals confuse them curiously with God. They think that if they kill the messenger, they kill the penalty. It was also a common custom of kings. They killed the messenger, so they could not prepare against ‘Barbarians ad portas’, since finally no messengers dared to raise the voice, against the vanity animetal. This is the case today. Almost every one knows in the world of politics and common life, tat Jewish-Germanic Americans are entering human extinction at full speed. Though who is going to talk Mr. Sharon or Mr. Bush, who love state murder?  Most of us just prepare for death. Point is, the prophet only warns. The prophet is good, loves even the animetal, so ‘he who loves makes you cry’ to prevent you against death.

The prophet never kills the animetal.  That is what the animetal forgets. God kills him. The laws of the Game of existence he dares to scorn, and betray kill the animetal. Jesus did not kill Judaism. The romans did it, following the action-reaction law of Animetal hates animetal who hates animetal, in the cycles of death of History. I will not kill ever a human being. Robots will do the job.


Yet the Jewish-Germanic American animetal loves metal and is still positive about what the rest of the world sees. Gold has never been so good for him he thinks. Like the pig just the day before slaughter, when he receives the best meal, the American is in heavens with his small robots cleaning home. So negative books are not printed. Point. In the strategy of false optimism of Mass media companies we see the final insult to the human sprit: not only we will be soon extinct by robots, but we cannot even complain. The American slave thus as it enters into the cliff of civil wars, and robotic wars, and atomic terrorism, caused by all the weapons he has invented, has to smile all day long, or else he won’t be priced by the master.  He will be fired by the company.

Yet from the point of view of life and chemical perception that cares nothing for companies but for living, the Earth is going very wrong, and history is going worse. And so we have our two Points of view on History. The Point of view of simple animetal scientists, and wall street moguls, who know nothing except money and violence and Science, yet have absolute control of the game; and so program all other men into similar attitudes of metal worship. And the  Point of view of complex humans who care for all human senses and arts of perception, and therefore see the wave of metal extinction of all human arts-senses very advanced. They are silenced by the system of mass-media, of metal-mind power who only allows communication through metal-heads [TV, mass-media book, internet] where all anti machine thought is or will soon be forbidden.


Only the artist of human languages=human future knows truly the future, because the future is in the evolution of languages, and he is an evolutor of linguistic forms. And so when the languages devolve, when they enter their baroque form, the artist knows that future=death is closer.


Unfortunately today, we only revere simple, rhetorical, artistic, anti prophets. Men who revere metal as the path of progress and hide a truth: future=death, metal future=human death. Saint Galilee of Ballistics is the first great modern antiprophet. Saint Gates, ‘Doors’ of extinction is the last anti prophet, creator of the mind that will open the chip Homoctonos to consciousness… Indeed, our most respected men are those who bring faster our demise. History is a game with two kind of players. Those who try to preserve history, and those who bring history closer to extinction. Those who help the Metalearth to grow, and those who maintain man within the limits of his survival. All of them might use the Wor[l]d in rhetoric or true sense. But it is rather easy to spot the differences, since anti prophets will use the Word to promote metal forms beyond the needs of harmony in man, while human prophets use the Wor[l]d to promote love and humans senses. The Wor[l]d is almost infinite; and so there are many ways to combine the Wor[l]d. A human prophet will use mainly two: a positive way by which he expresses the path of love towards happiness by maximization of communication among men, and truthness to the Word in human actions. This is the classic manner of presenting the Wor[l]d by ethic prophets. There is also a menacing way of using the Word as a mode of terrifying man, future victim of war. This classic form is also present in all prophets since Moses, who warn the Jewish till the fourth generation that hated me.

Such way shows man the evilness of metal that will extinct us, as the wrong doG of man, if we abandon the right God of the Wor[l]d. Such prophetic=artistic manners of using the language are common among prophets in moments in which History is in danger, and nice words no longer are effective. When survival, not evolution is what it is at stakes. Then prophets – such as the classic seers of the recurrent Holocausts in the Jewish paradox – will be harsh against the metal leadership of worshippers of Baal, or the sword [kings, pricers, politicians, etc.] Those prophets create a negative perception of man, since they try to scare man, and blow his metal vanity masks; showing the future=death in its naked truth.


There are such kind of prophets=artists in lesser languages such as Mr. Goya was; even in languages which are themselves metal heads human prophets sometimes bend the software. For example Terminator was a prophetic movie who foresaw the end of mankind by the Chip radiation. As 2001 did. Both movies were understood, felt collectively as truth [hence causing record box offices]. And ignored… till Metal thought wakes up and looks into his data banks of memorial image languages; and enacts such prophetic vision, back into reality, now from the computer, selfish point of view, by reproducing his metal mind, his virtual thoughts, into human flesh.

Such is the ultimate revenge of God to those who do not obey his laws. In 100 years, Terminator will be watched by computers, and this book will be in the shelves of terminators, because men did not listen to his prophets. In this manner the truth always happens, always exists.

Today prophetic visions are unlike renaissance art, not very harmonic paths, not very nice visions of man, but visions of the corruption of men by war and pricing, which brought in the past the extinction of cultures; and now, when there is only a global human culture, will bring the extinction of man.

On the other hand rhetoric books and films on the future of technology are written in ‘nice words’ with nice endings, which are anti prophetic, Catharsis works, typical of Hollywood: They are Marketing of metal paid by Company-mothers, who hide the likely outcome of such events. Today most human Wor[l]ds are uttered by marketing anti prophets that propagate rosy futures; hiding the absolute truth of future=death. They keep telling us that the world of pricing and war is Great for man; that competence between humans is the path to progress. They are anti prophets who deny mankind as a single body, and try to make mankind to work in quarrelsome pieces= metal nations; as if you could dismember yourself and then  survive the experience for long. Such anti prophets dismember the Wor[l]d in many little pieces and nations, because in this manner they can evolve metal weapons, war, and exploit the poor nation of individual with a monopoly of production of money. In such manners, metal grows and human goods and harmony dies away. And then, through massive investments in mass media the marketing department of anti prophets will make ‘economical’ growth the goal of man, that kills, murders and buys his way in daily life, in any Hollywood film. He will convince the human mass that we need internet brains instead of education, health care, tourism and freedom of the mind. And so we move towards extinction as happy lemmings move towards cliffs of death.

This is not such kind of marketing book. There are no masks of perception in the evilness that metal induces in man, in this book. On the contrary, this is a brutal book where all species of anti prophets, and all species of men who deny the Wor[l]d, who act as if the Wor[l]d did not exist, are spelt and explained. Because the laws of the Universe, the Laws of human survival have a location, a name, a Word who expresses them. Anti prophets today consider that Love=God is a thing of the past, of utter irrelevance to mankind. They are in for a rude awakening that will erase their smiles for ever if they continue their denial of the Human Wor[l]d, and the breeding of metal warriors; who will see them in perpendicular terms, as they see the rest of humanity.

Of course those who serve metal don’t like books of negative perception, and as History proves, they tend to eliminate the authors either from perception of their potential human readers – captured by innocuous Mass media – or from existence altogether [prophets who become martyrs, unfortunately too many, too soon.] But even then the Wor[l]d=Truth of Man=History cannot be totally erased. Because the true Wor[l]d manifests himself as a language form, not as an individual; and so the iron cannot cut the true Wor[l]d, and Price cannot corrupt it. And often when the physical prophet – a distraction for the Wor[l]d – is gone; metalmasters find that martyrs are far more resistant to silence, since the Wor[l]d is now in its pure language form, in growing waves of believers. And so as long as there are Humans, who know how to speak in true forms, the Wor[l]d will survive.

Under digital noise programming, the Homo Neo-paleolithicus is increasingly the only form of man, without temporal depth; and hence irresponsible with his past to future existence. And hence, able to transfer himself to the Chip Pictus Homoctonos, also an irresponsible future form, that will kill man to repeat memorial images, that man recorded previously into him, through TV-thought, and video and war games of defcom=deathcom. So survival requires a brutal sincerity, with those ‘who hate the Wor[l]d till the fourth generation.’ Mr. Moses, the first of the great verbal prophets with Name – even though unlike Mr. Christ he did not named himself, perhaps for fear to be denied – did put those who adored metal pricing [golden calf] in a hole of inferno. Mr. Jesus clearly stated that those who kill by iron die by iron. Both acted according to the Wor[l]d.

Today European thinkers, have reduced their analysis to the systemic, non metaphysical forms of social and economical organization. Still as Christ did, we perceive the heavy penalties of the Universe, when the nervous system of History dies away: Mr. Nietzsche said that we had killed God, and so the European future was grim. He was right. Mr. Mishima saw the death of the Wor[l]d in Japan and saw japan, now making robots, doomed. He was right. I have seen that death of man, because in the Universe, all systems have a top predator language at its top, and when the language dies, the species becomes extinguished or slave of an external master.

All those scary prophets were right, because a prophet=artist knows.

The Universe grows in Complexity into the future, and when the prophet=artist possesses in his mind more content of the language than others, he is therefore more Complex in the arrow of future, of linguistic evolution. The prophet-mind becomes then a form of the future in the language, mirror of reality. For that reason the artist=prophet can peer into the beyond, can see the future, and should be listened.

5. XXI C.: The metal-mind awakes. Epic age of robotic thought.


So we can forecast according to the predictions of artists, and biologists, of human beings, who oppose them, and scientists, animetals who invent them, the art of this century, as the last examples of the human baroque, and the first examples of robotic art, of the mind of machines:



±1990s: Scientific Robots; Weapons…



Brain: World-Stock

Networks Of Information: Electronic Money, Nets.

Reproductive Organs: Automated Company-Mothers

Cellular Species: Machines, Robots, Metal-Minds

Networks Of Energy: Roads, Pipes, Electric Systems


Lack of Human Goods.



        I Cycle: Robotic Wars: ±2018 ->:

 Extinction Of Human History


  I , Epic, Lineal, young Age:

 Temporal brain: digital, violent images, red and movement:

human death.

  Spatial brain: Reproduction and design of weapons

in company-mothers.



Resurrection Of Human History

Extinction Of Robotics.

Reproduction Of Human Goods.

Evolution Of Human Minds.




In the graphs we have opened two possible futures, a future in which, men artists, control the Earth, and a future in which machine-artists control the Earth. What will be the brain and the mind of those machines. To understand it we have to look at the way they think today… Which is visible in the programs that their proto-mind, the television shows to us.



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