Source Documents/Figurative War

Figurative War

Original language: English
Original publication: 17 February 2024
Written by: Hysteria
Translated by: (None specified)
License of this version: (None specified)
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CONTENTS

• The Strugglion
• Embossia
• Figurebuild

The Strugglion

From the very moment a child emerges from its mother, and most likely even at the stage of pitiful splashes and a powerful egg, a person is burdened with his experience and with what afflicts him - figures. The figures are like a foundation, like a new cathedral of long-dead masters, who nevertheless still have power over their subjects who don’t even know what to live without this slavery, because for them the figures are everything. Figures everywhere, in nature, in thoughts, in words, in sex and in fantasy, will haunt us like hound dogs that have not eaten for billions of years. It has obvious signs: squares, circles, triangles, rhombuses and oxahedrons. In motion, it all symmetrically embraces the world, like a hug, like death, like fire and the smell of rotten meat. It’s not pleasant to feel how the figures around you actually smell, it really takes a long time when you start to really feel it. Are there any subtle signs? Yes there is, one of them is the existence of animals. Animals themselves are still the same figures, they act in exactly the same way, but people oppose them... but with what and why? Not because we hate the figures, but because more powerful figures tell us so. Lately, figurative power has become more and more obvious (transitioning from the animal state to the divine) and outlined again, when, after the restoration of the dictatorship, it seems less and less to me that the All-Containing Being wants to send our world further and leave it in free floating.

Embossia

Nutrition of the Figures is what causes the embossing. Embossing is what raises questions and destruction of the architecture of the oceans of words, constantly breaking the existing connection, itself and sediments, in order to give free rein to its seed to produce new figures and harden old ones. The soft flesh cannot withstand and is torn from the oppression, collapsing constantly in convulsions, causing a natural assessment. That is why we believe that murder is bad, why cataclysms are bad, why civilization should exist and why we should abandon morality or accept it. The dissolution of each figure is seen as their goal, for them it is the engine and transmission. In the embossing, the figures see their liberation from the rules and in the same way as people try to get out of the inhabited higher figures created by the environment, who meanwhile do the same in relation to the one standing above and so on. The oppression activates huge crowds of figures that begin to move like blood, like fish in the ocean in terrible convulsions, which can cause the irreparable and teach us memory as a form of creation, which certainly also causes evaluativeness, greenhouse thinking and darkness in the head, and then comes their own shadows. The abode and fangs of the figures in the embossing is their dominion of authorization, to which there is no and cannot be an end, for the figures cannot and can do everything. They are impossible, but it is necessary to resist so that there is no oppression, so that there are no images and biosphere, so that there are no sanctions. But this is incredibly difficult to do, since there are no premises that the figures themselves did not want this, as a forgiveness for our species, because what is the essence of the figure? Figures are a function of coordinate axes, which, at the request of formulas, are outlined into objects, which then authorize and stabilize the shell within themselves, creating a world, they live by it, it is their desire to be created. At the same time, it is important to understand that forms are infinitely higher than figures, so much higher that they absolutely do not need form, do not need behavior, do not need description. The formula is the apostle of the foreign. It does not matter whether the Figures serve them, but their relationship should not be understood as a symbiosis, or as a creator and an object, it is always a necessity. Figures need to be created and formulas need to be created, but to say more would be redundant.

Figurebuild

Hierarchy is a figurative structure, its characteristics are also figurative, and in such a context that circles and lines are the absolute dominant. Their power is not hidden, it forms the segregation of the remaining floors of the world, they are the top of the landscape, the outer line of the edges of a book or other substrate, be it a pyramid of society, a cone or a mountain. However, it is difficult to say, accurately describing which may be stronger of these two; they rather hide away into the distance, sliding along the concepts. And so the Line is too incomplete, but fundamental. The circle has no corners, it has nothing to grab onto, but it cannot be captured or annexed by others. These are followed by outlined squares, triangles and other planes. Already being the governor of Circles and lines, they cannot act absolutely independently, constantly indulging the desires of their masters, answering the call out of hunger and surrendering to them as much as possible. Their strength lies in simple interest and the need to do what they say; people and, at the same time, cities and physics itself are made up of them. The lowest are multidimensional structures, complex and messy objects, the derivation of weak squares and the like from ordinary layers and stubs. They have no destiny and no life, existence is simply gnawed behavior. Below under the crust there are formless ones, arising somewhere from verbs, words and adjectives, from the dictates they have no description, they will forever go through the stage of formation, in the hope of building something powerful, but unfortunately they will not be able to get the stars that already belong to the circle and the line.