In my last days on Twitter I accepted without hesitation the invitation to put the "brick" in the profile, having already followed and appreciated those who had done it. I had admired not only the ability of the "bricklayers" to translate the leaden repetition of the chewing and mucous thoughts prescribed to the masses and parrots in parliamentary halls into fresh comedy. Not only the ability to aggregate the bewildered and disappointed, to emancipate them from a criticism now gasping for the relentlessness of events and to forge for them a brilliant and paradoxical style, the only possible response to the vulgar paradoxes of accredited representations. In this practice, the plot of a reflection that I feel close to me had also appeared and that the brick artists, the first and perhaps the only ones among their contemporaries, managed to structure in an overwhelming verbalization that nothing concedes to the dead swamp of "cultural hegemony" . Instead, they skip that swamp at equal footing, having understood the only purpose left to it, to assimilate everything by devouring it among its muddy feces, pending to devour itself.
I had set out to write on these issues, when some exponents of the movement (or whatever it is) preceded me by publishing a manifesto (or whatever you want to call it) that illustrates in points what has been illustrated in the field. Under license from the authors I propose it in its entirety below. Readers will find there themes already dear to this blog, in a more incisive and less pedantic exposition: the rejection of the "debate", statistics and the totemic use of the natural sciences, the irredeemability of the postmodern anthropological model, the need for a mythical re-foundation and, even before that, the radical vice of mass prosthetic cognition, a theme to which I will also dedicate my next contributions.
In this latter regard, therefore, the affirmation of the "webs" as a "free" and disintermediate place, even "more fertile ground for the birth of … new constructions, leaves me very puzzled – the first of the only two notes I would move to the text" social, anthropological, ontological "(point 3.6), and not an enemy citadel to be bent with boycott and desertion today, eradication tomorrow, to restore the necessary primacy of experience and break the most powerful of totalitarian spells.
Finally, I struggle to understand why Papa Mastai's Syllabus was not elected to summarize the political and spiritual program of the movement.
OR A COUNTER-AGENDA FOR THE COUNTER-MAN
(original text on https://laterum.wordpress.com/2021/03/15/il-mattone )
Como, Villa Triste, 8 March 2021
"I lack consistency, I don't have it, I don't want it, I give it to you all old!"
– Bricklayer schoolgirl, sec. XX
The wicked and suicidal handling of the Covid-19 pandemic has represented a disaster for humanity. The process of degeneration of society cannot be stopped, but must also be accompanied by its natural conclusion.
The post-modern world is literally the spin of a washing machine that runs crazy and unstoppable: the bricklayer doesn't even try to stop it. He opens the porthole and throws a brick into it.
1. The brick is not a political movement. Rather, it is characterized as a form of absolute and immediate – unmediated – adhesion to a principle, an idea, an instance: the dry rejection of the post-pandemic soy-man paradigm.
1.1 For soy men, the pandemic is the only way to feel part of a collective epos, through actions that are within their reach: staying at home or covering their faces. The soy man chooses not to live in order not to run the infinitesimal risk of dying, or for the fear instilled in him of harming his neighbor.
1.2 The brick artist, on the contrary, rejects the false mythoi of the media and mediated narrative, opposing them with the only anthropological categories still valid at the same time in the post-pandemic world, namely the old slave / free man dichotomy. The contingent objective of the brick, if ever there were one, would be precisely to bring together all the free men of this world.
1.2.1 Whoever has the brick is one of us, although we have already dissociated ourselves from whoever has the brick. The brick is a free association of dissociated people.
1.2.2 Ironically, you can have the brick even without literally having the brick, whatever that means. Likewise, possession is not worth title.
1.3 Brickwork is configured as a pre-political, transcendent and anthropological spiritual doctrine. The brick, among other things, is pure reaction, pure acceptance of the defeat and consequent strategic withdrawal from the world, renouncing any ambition. A sort of asceticism, both sad and joyful at the same time. The brick is the search for a way out of the ravings of post-modernity, as well as being itself a plausible destination.
1.3.1 Being a spiritual doctrine, the brick has no official content or fixed ideas around anything. The individual bricklayers certainly have them, but they remain completely personal and in no way attributable to the movement as a whole, from which everyone dissociates himself, always and in any case.
1.3.2 In fact, brickmaking has no homeland, if not in brick, and it has no compatriots but bricklayers.
1.3.3 Brick building therefore rejects any form of discrimination based on sex, race, gender, politics or religion. Anyone can embrace the brick. If you have the brick you are my brother (regardless of your relationship with the taxman).
1.3.4 The brick therefore deprecates all forms of racism, except for one: adherence to the thought and political doctrine of Sen. Cav. Antonio Razzi.
1.3.5 Brick-making repudiates violence, without ifs and buts, as a method of struggle and resolution of political conflicts.
1.3.6 The bricklayer will never appeal to the so-called human rights, which in general he does not recognize, without prejudice to the right to go to the bank and post office
1.3.6 [ sic ] Brick making returns to the sender any type of ideological labeling: it has no ideology, because it considers ideologies now devoid of concrete meaning. In brick phenomenology, all ideologies are nothing more than infantile manifestations of the brick.
1.3.7 The bricklayers, therefore, are not united by a specific ideology, nor (mainly) by a style: they are united by the same existential path. One becomes a brick artist through a spontaneous intuition of sympàtheia, with which one recognizes in the other a companion, a friend or, better, a frèn.
1.4 The brick is accelerationist: by means of its dialectic, it aims to open the way to the singularity that will lead to the definitive collapse of the current paradigm. It does not focus on the short-term marginal advantage, aware that within the aforementioned paradigm it would only be a Pyrrhic victory. On the contrary, it actively pursues the destruction of the current paradigm, both by creating an alternative one, and by applauding the more demented and self-destructive aspects of the current one. The brick artist is an amused spectator of the furious and post-rema autophagy of the Leviathan: having devoured everything else, all that remains is to feed on his own limbs.
1.4.1 Whenever Pirgopolinice-in-capo puts him (in spite of himself) before the hour of irrevocable decisions, the brick-maker hopes for the most forced, delusional, shameless and pregnant solution of previous pigs, so that even the naïve and naïve they begin to wade into the abyss, to develop the conviction that one cannot fight with reason an enemy who knows no measure, who unrepentantly flaunts his own shame.
1.4.2 The Italian Constitution is a sieve, which allows any filth in the name of "progress", amid the thunderous applause of five generations of constitutionalists. Thinking it could represent a trench is naive. The return to the "spirit of '48" and the "originalist" interpretations are unrealistic perspectives.
1.5 The bricklayer is a flat earther, otherwise how can the antipodals not fall down? Either way, he doesn't think the Earth is actually flat – that's not the point.
1.6 As a spiritual doctrine, brickwork is applicable to all fields of human knowledge (and also to what, transcending human reason, does not belong to the realm of knowledge).
2. The society of the spectacle, mediated by TV and propaganda media, has created a fictitious reality, not remotely traceable with one's senses, which promptly return a reality different from that presented by the media. Whoever intends to persuade us otherwise, prepare to fail. Therefore, the brick represents a real response to the fictional reality staged by the media.
2.1 It not only rejects “reality”, but – avant-garde – creates an alternative, specular and at the same time opposite, where the conflicts, concepts and categories of propaganda cease to have meaning.
2.1.1 The brick sits, uninvited (and empty-handed), at the same table as the media, playing their own game, hiding up its sleeve the clandestine idea of truth.
2.1.2 In this media game – because it is now a game – it is the story that produces reality, in order to arouse the blind adhesion of the public. In this dynamic, power fails to repress in itself the temptation to constantly test the unconditional fidelity of its followers, plunging the narrative more and more into the incoherent, the absurd, the insane.
2.1.3 Paradoxically, the more blind and deaf one is, the more one is immune to narration. Conversely, the more you enjoy good eyesight, the more vulnerable you are to the narrative. The bricklayer enjoys excellent eyesight, yet he is just as far from the narrative as the blind man is.
2.1.4 The brick, therefore, intends to make the breaking of the story spectacular.
2.2 Having been the traditional principles of logic, science, philosophy, politics and art incorporated by the spectacle, made deformed and insignificant, the brick rehabilitates and dignifies them with new practices of de-spectacularization of reality. The brick, with an impromptu and unpredictable move, bursts onto the stage and, possessed by the sacred fury, takes all the parts to itself: protagonist, supporting actor and extra. But it is the only lie (the brick does not exist), while, going on stage, it tells only the truth.
2.2.1 By formally rejecting these principles, he rehabilitates them and gives them new life, carrying out the inverse process of reality mediated by the spectacle, which formally accepts them, in fact humiliates them. Trivially, by rejecting its encoding, it allows new spaces of possibilities. Ultimately, the bricklayer is infinite unto himself.
2.2.2 The brick is not the truth, nor does it possess it, but it aims to break the mirror that hides its view. It returns man to the idea of immanent truth: it is anti-modernist properly in that it refuses to believe that there is no state of affairs. The brick asserts, as a necessary condition for freedom, the faculty of man to be able to grasp and affirm the truth; applauds the longing of the generous who tends to it.
2.3 The practice with which the brick carries out its own purposes consists in the denunciation of the debate, the rejection of a non-debate decided a priori and addressed by those who have access to the stage. In a situation in which the debate itself is pre-chewed by the omnivorous jaws of the spectacle, the brick refuses to participate, and indeed denounces it as a method of imposing ideas.
2.3.1. Since noesis is a gnoseological principle superior to dianoia, the brick artist intends to recover intuition as an indispensable cognitive tool of logical thought, all the more so in an era of systematic distortion and adulteration of scientific thought by the masters of discourse.
3. Our century apologizes for itself by claiming science and technology as neutral and infallible normative principles of one's actions: the brick, the new Prometheus, intends to unmask this claim, indicating the will as the ultimate engine of all human action.
3.1 The domain of technology presupposes that the management of life and the settlement of conflicts are scientific, rational, objective problems. By denying its purely political nature, power uses experts and the so-called scientific consensus to conceal its dominance and disguise its tyrannical nature.
3.2 The existential path at the base of brick-making is constituted by the rejection of the principle of authority, and of the narrative to which it suits. Brick-making believes that no truth can be learned from statistical data processing. Rather, he prefers haruspicina as this, while corresponding to it in substance, is an older and more venerable art. Of course he doesn't believe either, but that's not the point.
3.3 Power consists in being able to establish causal relations – or affirm their absence – ex auctoritate. Such a crucial prerogative cannot be abandoned to a "free scientific debate" with unpredictable outcomes, but is invoked by power, which, disposing of it at its own will, stages a pseudo-freedom, a pseudo-debate, a pseudoscience.
3.3.1 Science serves as both a notary and a propagandist of power. It has abandoned the method to become a bureaucratic cult.
3.3.2 To the so-called "scientific truth" we oppose intuition, conjecture, wit, as extraneous to the branch of the spectacle.
3.3.3 Sources are corrupted at source. This means that the brick does not pursue a conception in which the agora, the public sphere, is occupied by individuals who must be substantially "journalists of themselves". Besides being utopian and unrealistic, this solution would only contribute to further concealing the dominion of the current "masters of speech", contributing to the preservation of their yoke.
3.3.4 No reality is real if it is not embodied and therefore directly experienced. Life is truth, truth is life.
3.3.5 Only sacred facts can boast – not abusively – the attribute of truth: they are not only unproven as worthy of faith, but worthy of faith as unproven. Only a fact whose truth attribute a priori lacks may need proof. Prove the opposite.
3.3.6 The brick pursues the total disintermediation of human and media relations, which to be possible must be total and radical.
3.4 The bricklayers accept offenses, insults and in general any civil or uncivil manifestation of dissent between members and outsiders, as an authentic dialectical means of forming the thinking self, as opposed to the super-ego of the soy man who stages non -thinks, impractical and prepackaged.
3.4.1 The bricklayer is not vulnerable to the reversals of fortune and the provocations of the treacherous. He will not be troubled by the contempt of the world, because he knows that the path to asceticism is perilous and lewd.
3.5 With the collapse of ideologies and of collective mass society in general, in the post-pandemic 5.0 world, there is no longer any intermediate body between the self and the other, not even one's own flesh. Brickmaking wishes to reconnect this intermediation through the "webs", subverting the old mythical categories.
3.6 Brick-making therefore considers the webs the most fertile ground for the birth of a new being, of new social, anthropological, ontological constructions, hitherto impossible because blocked by the intermediation of the structures of power. Despite everything, the web remains the freest non-place on earth. Therefore, the brick does not intend to digitize reality, but to make it digital.
3.6.1 Brick-making uses the categories of pop culture and the lexicon borrowed from urban language to make these categories explicit and manifest.
3.6.2 The means of expression through which brick-making transforms and overturns the existing categories are post-irony, shitposting and MeMe, a pure and free art form, therefore of the people.
4. Shitposting and multilevel post-irony make reality and fiction, fiction and reality indistinguishable in the eyes of non-bricklayers – or “normie” -, undermining the show in its foundations. These means therefore aim at the construction of a new mythical language, now explicit, now allusive, and therefore connects the brick (and its owner) to the language of the divine and of truth.
4.2 Reality imitates MeMe. The MeMe therefore write reality.
4.2.1 The intellectual bankruptcy of modern science is testified, among other things, by the failure to enunciate point 4.2 as a natural law.
4.3 The Maciste is the modern hero capable of throwing the gaze beyond the lie of the show and shouting the truth to the world. It can do this because it is beautiful, and it is beautiful because it is able to do this: brick gnoseology is founded on kalokagathìa.
4.3.1 If the Soy-Man, full of beauty and the sacred, can have no other axiological and spiritual horizon than in smart work, in the virtual and in consumption, the Maciste aspires to be fully reunited with each of his manual faculties, intellectual and spiritual.
4.4 The brick artist is in effect an infinitesimal singularity of an intelligence-swarm, symbolized by the brick.
4.4.1 Brick rejects crepuscularism and quiet refuge in a fictitious mythical reality. It is the vitalistic challenge to the post-pandemic reality.
4.5 The circle does not exist, but if it existed its area would be about three quarters of that of the square circumscribed to it.
4.6 King Kong> Godzilla.
5. Since modernity is the interminable and ubiquitous funeral of the world, only from the ashes of its debilitated reason can life be reborn.
This is literally our ideology.
This is a machine translation from Italian language of a post published on Il Pedante at the URL http://ilpedante.org/post/letteralmente-la-nostra-ideologia on Thu, 18 Mar 2021 04:47:13 PDT.