azSacra and Pyantinin”, photo credit: Theatre of Cruelty.
EXTREME ART PHOTOGRAPHY FROM RUSSIA.
Review of three black-white art photography books by TheaterOfCrueltyNOH: including “Blades” (1998), “Sexus” (2000) and “Opus Transformations” (2006), published by “Magnitogorsk Press”, Russia. All three books are quality special editions. The primary forces behind these publications are: azSacra zaRathustra (esoteric philosopher, poet and extreme artist) and Jgor (Loki) PYATININ (photographer).
One cannot solely comment on the excellent photography by Jgor Pyatinin (Loki) in these books. The conceptual work and direction by azSacra zaRathustra is a crucial and integral element in the artistic expression, and the final results. azSacra zaRathustra describes himself as an “esoteric philosopher, poet and meta extreme artist, as well as a Master of Death and Emperor of Suicide”. That is a strong definition which inspires both curiosity, and a desire for critics and the public to put to the test both the degree of extremism and its artistic value beyond self-promotion. According to azSacra zaRathustra, TheaterOfCrueltyNOH is an aesthetic and philosophical synthesis of the French “Theater of Cruelty” of Antonin Artaud, medieval Japanese rituals and magic theater (NOH), and the Russian Secret Text Cinema (SacralWordcinema) of azSacra zaRathustra. TheaterOfCrueltyNOH is (according to zaRathustra) intrinsically connected with Russian Trance Cinema.
zaRathustra has briefly described his personal and artistic philosophy accordingly: “… the sensual basis of preciseness in the world. Animals, herbs, fish and birds also should have their own Gospel. In this case it is the Gospel of Birds of Prey. For example, my book “Mysterium” speaks about the clash of nature and humans, initial instincts and perpetual spirit. I am on the side of those who are doomed to die, but who still cast a challenge to the prevaricating world of suggested images. The perceived Prakriti should also conquer in the spiritual war against Purushi. The Spirit must not have an absolute right to victory! For me the pains of the broken flower and the silent shout of the crushed worm are more important than reaching Samadhi. I will always seek poetic revenge for their death.” These are strong words from zaRathustra, who also has recently published four books of poetry: “Mysterium” (2006), “The Lotuses of Evil” (2008) “America: Invasion of the Heart” (2008), and “TAO KAMPF” (2008).
Now that we have a vague idea of the philosophical sphere of azSacra zaRathustra and the TheaterOfCrueltyNOH, let us take a look at that which really matters in this context: THE ART! Does it meet the expectations presented by the artists, and how does it function artistically?
Let us review the art itself: the photographs possess an esoteric “sharpness” that is both clear and strong in presentation of image, but also soft and suggestive in technique, thus giving the public a sense of personal involvement that is visually non-abstract but experientially open-ended. Here the realm of possibility goes beyond that of fantasy. The photographic images in these books are theatrically stylized, but with an “edge” that both encaptures that which special subcultures in modern society accepted and / or embraced in the 1980s and 1990s: namely S&M sex, and surpasses it by combining the humanity of going beyond the boundaries of traditional sexual expression by way of incorporating innocence in humanity, flora, and “wild” fauna (otherwise perceived as “dangerous”). The instinct behind the photographs and in their execution is the same as the philosophical foundation expressed by azSacra zaRathustra. Samadhi and personal perception in the here and now are more important than dreams of escape – perhaps because there is no escape from ourselves, and the realities and bondages that we ourselves create.
The photographer has used a Zenza Bronica GS-1 camera with a Zenzanon-PG f = 100mm lens; and Multilight 500 PRO, 1000 PRO studio light. Most of these photographs are straight-forward black and white photos, but in “Sexus” all of the photos are given a flesh-like sepia tone … which accentuates the living quality of these erotic images. Here zaRathustra and Pyatinin (Loki) have (in my opinion) challenged the boundaries between art photography and pornography – not so much in regards to the image themes but rather by infusing the white portions of the black and white images with flesh tones and accentuating the grainy videofilm quality normally associated with this type of imagery, thus shocking us back from the potentially “artistically uptight” and distancing qualities of black and white “high art” photography of sexual acts and poses into a sort of classy and personally engaging “B-pornographic movie” from the 1970s and 1980s … yet another reminder that we humans are also predatory by nature. Here the artists play with esoteric and socio-cultural traditions, pitted against extreme sexuality. For example, “Sexus” opens with an image of a naked woman whose face and torso are covered by a simple veil, exposing solely her lower torso, thighs and vagina. And yet the focus is not her vagina, but the veil. The progression continues with the entrance of zaRathustra himself, who – over a series of photographic scenes – invokes the spirit of the wild and the predatory, in tandem with the female counterpart who instinctively plays her own role in the natural act of sexual play. Male – female, predator – receiver, occult spirit – pure and innocent … all of these elements are in play, and are further enhanced by both the photographic decisions and the image of zaRathustra with his occult and esoteric tattoos, and his bird of prey-like gaze – looking directly into both the camera lens and the face of the public, thus creating an intimacy that surpasses pornography. Ironically, many predators today (the wild fauna, at least) are “endangered species”. Can the same be said of humanoid predators? Do predators also have an innocent side, and do the “innocent” actually also play a predatory role? zaRathustra and his colleagues play with these questions all the time.
Art or pornography?
There is actually (in my opinion) little that is sexually “pornographic” about the images in “Sexus”, but the portrayal of humanity and the natural sense of humans as co-predators is rather disarming for the viewer and gives a new twist both to modern perceptions of crossing boundaries and the concept of “Art as pornography vs. Pornography as art”.
My conclusion: this is decidedly art, rather than porn. The sexual expression is merely one tool for showing an interplay between the many expressions of life and living creatures, ultimately resulting in the most esoteric and powerful usages possible of active and latent energies and the subconscious intellect: sexuality + spirit. The artistic and photographic choices in terms of poses, progression of photographic images, and scenography were sensibly employed and highly-effective in this case, as is the case of the two other black-white art photography books by these artists as well. If this work is to be regarded as extremely pornographic then I would suggest that the extremism is rather its honesty and its willingness to go beyond mere tabloidism and commercialized pornographic fantasy to a playful artistic expression.
BLADES.
“Blades” is essentially a love story in black and white, effectively presenting the love of zaRathustra for many-legged predators and creatures normally seen as dangerous. Here zaRathustra makes love to these scorpions, centipedes and spiders and unites his own predatory instincts with those of his co-actors. The title “Blades” is not coincidental or unimportant, as zaRathustra plays with the concept of dangerous … presenting the sharpness of knives and stinging appendages throughout the book. In this book there is much shadow-play, thus creating a sense of mystery and challenging the public to go into its own darkness – both individually and collectively. There are many “extreme” photos that are quite beautiful in their innocent rawness in this book, but I personally feel that the most effective photo is that of zaRathustra pressing against a wall, his face half-hidden in the shadows and with a scorpion (on his left forearm) comforting him. These photos show the soft, internal side of man the predator – exposing the vulnerability of humanity and maleness. In that sense, these photos are perhaps among the most sensual in all three art photography books. The simplicity of the photographic images is a technical illusion … this portrayal of supposed effortlessness and spontaneity has been well-planned and executed, and there have undoubtedly been many hours of photo-taking and final selection in order to achieve this degree of life/living spirituality in this sequence of photographs.
OPUS TRANSFORMATIONS.
And then there is “Opus Transformations” – which is, in my opinion, the most aesthetically-beautiful of the three art photography books reviewed here. These photos are less “grainy” than those in “Sexus” and “Blades” but here – again – the artistic decisions have been well thought through and executed. This is a very sophisticated presentation which is a further exploration of the themes of the earlier books but on a much more “refined” level. This is visible in the composition, lighting, contrasts and reproduction quality.
In reviewing these books, I have gone back and forth with wondering if the artists might experiment a little more in the direction of techniques used by Herb Ritts in his art photography book entitled “Duo”, from 1991. However, when I study “Opus Transformations” in depth I see that the artists have quite intentionally modernized the classical artistic photo-perfect technique in ways that accentuate the stark beauty of the subject matter in a new context, and which are complementary to the philosophical foundation of azSacra zaRathustra and the TheaterOfCrueltyNOH. There are all too many strong photographs here to mention in this short piece, but the cover photo (featuring a child carrying a cage with a large rodent) is quite exquisite and quietly dramatic. Another incredible photograph is a portrait of zaRathustra with a pistol in his mouth, and surrounded by two beautiful women … one whispering into his ear and the other listening and silently taking in the experience. The photograph creates a sense of both mystery and predatory predicament turned onto itself.
All in all, the art photography in these books is very active. Is it provoking? Yes, but for quite different reasons than one might think at first glance. azSacra zaRathustra, the TheaterOfCrueltyNOH and the talented photographer Jgor Pyatinin (Loki) create beautiful, active poetry in their art photography. Here there is no need to compare each photograph with a thousand words. Many of these photos go far deeper into the subconscious than even several thousand words could adequately express.
NEW! See featured extreme artist/poet/philosopher azSacra zaRathustra’s newest extreme art videos: HERE!
— criticism by Adam Donaldson Powell ( Адам Дональдсон Поуелл ), 2008.
Adam Donaldson Powell (Norway) is a multilingual author and a literary critic, writing in English, Spanish, French and Norwegian; and a visual artist. He has published several collections of poetry, essays, novellas and short stories: in the USA, Norway and India, as well as art photography criticism and literary criticism in publications (both print and electronic) based in the Americas, Europe and Asia. He has previously authored theatrical works performed on-stage, and he has (to date) read his poetry at venues in New York City (USA), Oslo (Norway), Buenos Aires (Argentina), and Kathmandu (Nepal).
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COMMENTARY: by azSacra zaRathustra, on his ‘Extreme Art’.
BODY OF POET
(“Annihilation is the invaluable sumptuousness!”
(Georges BATAILLE)
In some details is the project the critical confrontation between the forms of the traditional art, to which we all have already got accustomed? And is it a form of the extreme, for which the notion of “norm” is hostile? Practice confirms that the accent is made on the shocking discrepancy, which makes a “break” in the settled values. The imperative of the extreme art is not to trifle round with who has to evaluate it, but to cut and hitch him up from the inside and reveal the “interiors” of the common psyche and consciousness. It is a special form of torture and at best a try to put to death always “untouchables”: readers, spectators and so on. In 1969 great French theoretic and practice of “the art of body” Michael Journiac composed a special treatise, containing the following: “How to transform the body into the work of art. Conditions: 1. You should bequeath your body to Journiac. 2. You should die”. “You will die to become a masterpiece”. Since then the dead human body is not only an inert form of the substance. Tattooings, scarings, maimings are the saint signs of freedom which are realized as a new language and form its nontextual and overtotalitarian discurs. “A wound now is no more a damage of the tissue, but a new rule”. The borders of this breaching “negations” and revolutionary ideas are already gave up or left behind in history of Russia. First and foremost it touches upon the extremely discrepant art of azSacra (Master of Death). He made people speak about himself by means of “the art of body”, using photography as one of the presentation means of his own Games with the death as well as of his risky experiments on his body and reason. Identifying himself only through the spiritual rebel, azSacra maintained his art in quite different “acts of death”, which are performed before the video and photo cameras. At the moment he is the author of the most complex extreme philosophy which reveals, scares and captivates us at one time. His over..crossing the borders overgressing art combines five most nihilistic aesthetics: “how to lead philosophy with a hammer” by Nietzsche, “wish to be killed with roses” by Mishima, “to die and to become a masterpiece” by Journiac, “clearing theater of cruelty” by Antonin Artaud, and “western zen” by de Sade. Such “detonating mixture” was necessary for azSacra only to reveal and raise his own idea of “the body as the cipher of the absolute freedom”. Body is the only clear mirror. Forcing the danger and horror reveal itself in it, the creator works out his own form of the language. Negative aggression is incessantly established as the overpositive will to Nihil. It is something like Zen without zen. azSacra proposes: “Poetics is not the power of the word, but an extra strong psycho and physical development. Not the language of reason but only will, playing in the centre of the body, creates a masterpiece. We should go forward behind “Hatred to Poetry”, “Flowers of evil”, and even behind Tommazo Marinetti with his scaring “no masterpiece if no aggression”. And really instead of shy “guillotine weeds” pseudoradical performances and installations of the most actual art azSacra does the Other and the Present, which is the break of the culture by means of deadly Game in realities. His “art of aggression” turns into transgression and overgression only to break with these limits. And if in “Body mass” Journiac used his own blood to treat the spectators, azSacra does (manifests!) something more important. He burns himself cruelly, cuts, pierces himself, puts his own body to the blows of heavy chains and hammers. “When I really, practically, on all hundred percent “lead my philosophy by means of the hammer”, I inevitably come to the effect of the “final Nietzsche”. I recover his “incomplete philosophy” by means of my own body. And in this case it is better to be killed by everyone then to be publicly recognized”. It is the mission of the creator damned by the society, which is to attack the culture of prosperity, money and comfort, where everyone becomes “the body of inspection”, even being deprived of the opportunity to become a slave. Overtaking death in every second, azSacra reminds us of the Grandeur of the Order, which is Freedom when no one is free. Nothing without Nothing! There is no azSacra, only “azsacracidos” of the word and image, which illuminates the ritual of the intrusion into the powerful sphere of philosophy by means of the art “to be killed”. He is and realizes himself without the context of fear! Muscular cipher of the body, symbols of maimings and anticodes of tattoos will always challenge and dominate because only they are the basic expressive means of the genuine freedom. azSacra’s wounds are furiously and afflictedly transferred into the pure poetry of the “bloody metaphors”. Blows, cuts, piercings represent the maximally tragic objectification of “the body-in-itself”, what in the end brings not to something like a purified body-art or hedonistic body-building, but to quite the opposite: transformation of the body to the object of art through the jump into Death:
unfamiliar spring to people –
flower sketch on the opposite
side of the mirror
– by azSacra zaRathustra, Russia.
All photos courtesy of azSacra zaRathustra.
UPDATE: Dr. Santosh Kumar (India) has now released “Azsacra Zarathustra: Symbol of Nothing to Power”. Order this book from Cyberwit.net!
azSacra zaRathustra is a philosopher, an author, a visual artist and much more. In this video (“Opera of Fire”) he demonstrates the ultimate achievement for any author/artist/philosopher:
An exclusive intimate interview with two extraordinary international artists/authors from Russia.
This is not a Russian fairytale —
AzSacra Zarathustra and Katya Ganeshi: their Art, Literature, and Artistic Mission Revealed.
Interviewed by:
Adam Donaldson Powell
THIS IS NOT A RUSSIAN FAIRYTALE …
Adam:
I first became acquainted with the books of AzSacra through our mutual publisher: Cyberwit, in India, quite a number of years ago. I have always been intrigued by the philosophical underpinnings of AzSacra’s work — be it literature, videos, and performance art works such as the public burning of his book of blank pages. The burning of the books was perhaps seen by some as a commentary on self-censorship and censorship by others, but I always understood it to have a deeper philosophical meaning and significance. I will not “interpret” this performance art piece, as we are so fortunate as to have both AzSacra and Katya here to personally reveal exciting information about that and other works. I would like to start this interview by delving into the basic questions about the history of your collaboration.
When did you start working together on art projects? Please tell us in your own words the history of your Art, including Theatre of Cruelty, art photography etc., and how that led to book publications, video artworks, performance artworks and more.
Katya and AzSacra:
Russia. The Urals. Magnitogorsk. The 90’s … It is important to say at once: we live in a very non-free and repressive city. A totalitarian city of continuous and exhausting slave labor — “Stalin’s steel heart”. It is a city-factory that has been ruthlessly milling its workers since 1929. Our task, therefore, was to destroy the original code of the socialist workers’ culture of forced labor. We sharply contrasted ourselves and our art of Absolute Freedom with the usual slave labor narratives. We struck in all cultural directions at once, including with the “sexual revolution”. This caused a deep shock! And, accordingly, we were immediately banned and eventually persecuted. In a short period of time, we really changed the cultural life of this city in the direction of freedom. Azsacra started the struggle in the early 90’s, and Katya Ganeshi joined in the late 90’s. In 2000, all of our underground fronts merged into one counter-cultural project, an “Experiment”.
Adam:
The Readers will surely want to hear from you about how your Art has been received internationally, and in Russia.
I know that you have had a large following internationally for many years, and the many blog postings I have made about your work, links to your videos etc. have always brought many interested persons to my blogs. I also know that some individuals have misinterpreted your work, and the philosophical underpinnings in your writings and videos. Your writing and video art is often somewhat “raw”, which is an important artistic tool. And that rawness/extreme art can be considered by some to convey a different message than what you have perhaps intended. I have, myself, answered questions regarding your “intentions” by other authors — which can only be interpretational on my part, and are thus not only unanswerable, but such questions are perhaps an “artistic sin”, in my view. I have also answered questions about your Art being pornography, in my essay on your early art photography books: https://adam-donaldson-powell.blog/2014/11/22/extreme-azsacra-zarathustra/
Katya and AzSacra:
From a certain “borderline moment”, we learned how to amplify, slip away, and transform. We began with publishing our books only abroad. In different languages. Mostly philosophy and writings requiring more deep thinking than mere “thought” itself. Today, more so fantastic, incredible (exceeding the maximum value, beyond the limits) “explosive texts” without titles; and we are sure they will never be adapted to the needs of contemporary culture and/or thrown to the mercy of the “meta-categories” of a suppressing dictatorial future. Instead, they are rather rough “drafts” of thought, but they are more hard-hitting than the elegant/graceful philosophical “masterpieces” of the past. All of our hollow anti-structural texts are cruelly devised to viciously resist both genius and mediocrity with their much-loved, benign “apparatus” of prohibitions and repression. At the moment, these dangerous books are being perhaps «cautiously» read around the world, but this achievement saddens us rather than pleases us. We would like to communicate only through sudden casts of light and instant flashes of lightning. Anti-philosophical books are very strange, maddening “ciphers”, “thinking traps”, “alarm signals”, and even more dangerous (sometimes deadly) riddles. Plus, we do a lot of experimental films. We have made over a hundred documentaries in different languages, and for different countries (India, Japan, Tibet …). Our films are shown in New York, Paris, Amsterdam, and other cities.
Adam:
AzSacra, you and I also collaborated on the epic poem introduction to “The tunnel at the end of time”, which is still — many years later — very popular on the internet.
I see extreme Art as a genre, rather than a stunt to shock or provoke. Your literary and visual artworks are quite profound, and I have never perceived you as intending to shock or provoke just to stand out. Artistic genius requires a different way of seeing the World, presenting issues, a solid philosophical backbone … and perhaps a special type of “weirdness”.
But please tell us how you think that your work has been received — both internationally, and in Russia.
Katya and AzSacra:
Parallel to deep provocative anti-philosophical thoughts/ideas and vivid, impressive images, we contribute our risk-taking, storms, and culture shock. Many people consider AzSacra the most dangerous anti-philosopher of the 21st century. Some even call him the devil of philosophy. Katya Ganeshi has been called the Indian Baudelaire, and the new Bow of Evil in India. Our mission is to change reality itself towards freedom, and not relegated to a shelf of forced historical glory.
Adam:
I have asked you many times about the various philosophical ideas behind your work. Can you explain the “basics” for our Readers? And how much does human psychology play a part in your Art … through play with the thought processes of your audiences, posing subjective questions that may be jarring and which might attempt to awaken or jolt consciousness in others? Here I am asking not only about your books, your poetry, your video artworks, but also about your art photography and Theatre of Cruelty.
Katya and AzSacra:
Aggression, in its true life impulse, will always be relevant for the most “terrifying workers” of thought. Free rebellious Eros is not a “forced ejaculation” of everyday love. Life, childbearing, death — this is violence against the body. The philosopher always applies the most complex and the simplest means at the same time. Aggression, violence, toughness — this is simplicity. Tenderness, thrill, fragility is complexity. Antonin Artaud taught “to deflect form and incite chaos”. AzSacra singles out “chaos to freedom” and turns it against all types of “controlled chaos”, against all “lower anarchies” of the system. He needs the pure energy of rebellion for the height of thought, and not for the earthiness of strife and the routine of pogroms. He is not interested in “aggression” by itself, but in what initially surpasses it in “secret deconstruction” from the most soft. For example, the fluttering of a butterfly as a guarantee of the fall of fortresses, the trembling of a drop as energy for a tsunami strike, the twisting of a lizard’s tail as the death / life of all at once. He is always ready to talk to pigs, but the main thing is not to throw pearls in front of a person.
AzSacra developed the combative concept “NothingNietzsche” (and more) and used it quite successfully against both Western thought and Eastern philosophy. To paraphrase the sad, but merry suicidal guy Guy Debord: “any philosophy must also be destroyed”. For what? For the triumph of the Impossible and Incredible. Not “we don’t think yet” (Heidegger), but we still don’t risk so much for thought in speed and madness. Lightning, unlike an atomic explosion, can never be old-fashioned. If the world is still the same “human crap”, then the “will to power” is human rubbish. Everything is an illusion, everything is a copy of a copy (“no original”). That is: no female organism has yet been able to checkmate with your uterus to the matrix in this completely deceitful world. Thus spoke Zarathustra. And this is how it is indicated in the most ancient “negations” and new “negations”. AzSacra is also a denier. Nietzsche without Nietzsche — this is his lightning! Zarathustra against Zarathustra — this is the madness!
Adam:
Katya and AzSacra, I am curious about how you see your roles and goals as artists in society (or outside of society), and also how you see yourselves and your Art in the context of modern Art history. Please reflect upon these questions, and their relevance or non-relevance for you — both in terms of international art history, and Russian modern art history.
Katya and AzSacra:
We are always above and outside art (Über Ihren Köpfen)! We struggle everywhere, but we belong to no one and to nothing … Our goal: to constantly improve our weapons of thought, intuition, and impact … Only rebellious continuous changes! Art must be constantly attacked with the riskiest works: bombs of thought! Azsacra specifically invented the TDAS Theory of the Destruction of All Systems for this purpose.
So we completely agree with your conclusion from the article “Azsacra Zarathustra … the phenomenon, and the enigma”:
“Time and time again, AzSacra has bombarded the public with staged photographic series dealing with illusions of sexuality, death, fauna and self-harm, and always with hints of a deeper and more esoteric philosophical foundation. Over the years his internet following has grown to the point where he is now an underground cult figure. There are many questions and opinions on internet and YouTube forums as to what his art and philosophy really mean. AzSacra has no need to explain or justify his work in these forums, and his literature and art must and should stand on its own.”
Adam:
You have constantly pushed the limits of your audiences through your artworks, writings, and your predator bird sanctuary project. Can you tell us about some of the projects which have had special significance for you, which ones have been fun, and what has been difficult? I would also like to hear you describe the animal sanctuary, which I saw as a monumental performance art piece of great significance as regards both animal rights, survival of endangered species, and better understanding these beautiful creatures whose territories, habitats and ability to survive humans has been encroached upon.
Katya and AzSacra:
Helping wounded birds in our lives is a worldview and as essential as breathing, both at the same time. We just did that which others refused to do. Birds are the connection of the earth with heaven, the concrete correspondence of the rebellious soul to the star imperative of the wise Kant. Every spring, for almost 30 years, we released rehabilitated birds. The sanctuary was a low, old building, with four areas for feeding birds, which people in the city considered magical and called it “a place of freedom where birds arrive”. We housed all kinds of birds in protected habitats — both birds of prey and singing birds in trees. Because of this, a tough confrontation arose with officials and the apparatus of repression in the city where we live. The struggle lasted for a very long time. Nevertheless: the building of the Center for Assistance to Wounded Birds was ultimately seized one night (taken by storm) with the help of the police. For us, this was comparable to our own death … We’ll never forget that.
Adam:
Artistic expression and Freedom of Speech is not always a given. Artists and authors must continually fight for those rights. Can you please tell us about your own experiences with censorship — internationally, and in Russia? How has this affected your Art, and your perceptions of artistic freedom today? Ideas are often considered “dangerous”, and extreme artists poke the bear … so to speak. I believe that poking the bear of dulled collective consciousness is a necessity. It is hard work, but it needs to be done. And furthermore that concepts of Truth/Lies, Beauty,/Ugliness, Light/Darkness etc. are all both relative, and simplistic … if not irrelevant. One role of artists is to poke that consciousness. Do you agree?
Katya and AzSacra:
Yes. A tragedy is not an antique “theater of thought”. There is always an even more ancient inexplicable thirst — to overtake death at once! Or more exactly — a constant intuitive hunt of Death itself. Challenge! If you’re still alive, you’ve already betrayed something. Only the most extreme risk of thought (without “academic philosophers”) and the maximum bravery of action (outside of “systemic heroes”) can, if not change the world, then at least defiantly, freely and with daredevil spirit break its dull “habitual rhythm” of hidden/open coercion. The system is truly the “boredom-violence” of war, and is the essence of the cursed “spirit of gravity”! As was said in 1968: “Boredom is always counter-revolutionary. Always.” Nietzsche loved tragedy, the Buddha considered it an illusion, however, as well as, of course, the dramatic “simulacrums” of Baudrillard. There is no “tragedy”, they just grab you by your hair and slam your face against the wall. With any resistance of thinking to the “system”, the continuity of the strikes will only increase. Therefore, in extreme, rebellious philosophy, you are immediately doomed to annihilation. The maximalist’s “riot-thinking” never has any chance of surviving! Essentially: true philosophy, in this space and time — these are endless «thought fields», filled only with Orwellian “trampling boots”.
Oso Para Vos 
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