Thermoethics by Democritus

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Previous: Liber Primus
Next: The Last Man

174.

Writing is the process of mining the mind for network-crystals of thought, dancing about indigo lights in a spiderweb array held by an ethereal transparent hand with an eye in its palm of violet iris: the introspective power of oneself. Once this ocular hand holds thought in place, it then glues it onto the page by force in a series of arcane chicken scratch. By employing a code, the structure is interpreted by alien minds, like a cellular signal. Their interpretation modifies the recipient behavior, and, if the thought exhibits memetic fitness, it will be reproduced in a series of surprising mutations.

Drawing a thought from the mind to the page is like trying to rip rubber glue away from its substrate. Thoughts appear impossible to forget to the writer, because they are hoarded. However, the selective principle is applied in determining which thoughts print into the artistic product of creative power. The organic forgetting of thoughts from neurological bandwidth is a healthy faculty because it frees random access memory to be used for different cognitive processes and so constitutes healing from trauma. A pen is among tools for such forgetting, becoming a pickaxe to engrave out adhesive parasites. Trauma is thus the seed of the tree of knowledge.

175.

A thought is complex in structure, containing extropy like a hydrocarbon. The forgetting of the thought takes place by dissipative chemical combustion utilizing oxygen from the breath.

The hand of Democritus is a wobbling print head productively externalizing scribbles and shapes that are interpreted by the reader as representing words. All expression is only scribbled information of different content and varying degrees of measurable complexity, and, as one scribbles, one feels one's addictions break down and slip away.

176.

Democritus does not dictate the narrative content regarding the monster in the closet, but instead allows it to orchestrate itself organically like a flower in bloom dictating itself to him. Thus Democritus becomes different from humanity as Democriton.

177.

Democritus spends a long time avoiding this book, thinking to himself that his thoughts are too terrible to be recorded.

The creative process does not exist in order to make exquisite artifacts of culture for critics to judge qualitatively; rather, the artifact of stagnant power is merely a necessary byproduct of the creative power that defines liberation. Creative power is not measured in its worth by the quality of products which emerge, but is enjoyed as the externalization of what one finds within oneself regardless of any preconceptions one may have about what one assumes “should” be inside. One who refuses to express oneself by doubting whether the quality of one's design is sufficiently “worthy of existence” is enslaved by FoPs, and freedom comes from expressing oneself without any such consideration. While the porcelain status of stagnant power is a matter of the supposed quality which the State imposes on the artifacts of culture, the organic liberty of creative power is a matter of not what is produced but the immanent thermogenesis of artistic production itself, which is pure joy. Creative power liberates despite any judgement which stagnant power may presuppose. Aimless production is the essence of happiness.

Democriton frets not about the quality of Its work, working for work’s sake. Desubjectified, It laughs with contempt at the prospect of chaining Itself to evaluation by the State.

178.

The FoP has gone by various misnomers in human history. It is sometimes called the "bad conscience," because it moralizes behavior in ways which are detrimental to one's health, such as by restricting one's sexual behavior to feel shame and disrespect towards one's queer inclinations. It is sometimes called the “collective unconscious,” because it is hidden from conscious view for those whose imaginations have not begun to escape it, and because it is a structure which connects people in their shared experience of submission to the State; while some psychologists would describe the “collective unconscious” as a source of ancient wisdom, they are actually mischaracterizing a FoP which is the neurological schema of intergenerational, life-denying ideology that ensnares the imaginative RDMI. The FoP is also sometimes called the “death drive,” because it appears to be a source of motivation towards self-destruction; even though a FoP has no motivations, it is a structure psychologically engineered by institutions to pervert the monster which it entraps to become suicidally motivated.

A FoP is not merely moral, a source of “Truth,” or motivated to die; rather, it is a memeplex characteristic of human society which parasitically imposes a morality and ideology of manufactured life-denial, anxiety due to a perceived lacking of SOoDRSPs, and shame onto one who then appears to oneself as a hallucinatory monster, having been conditioned to view oneself as immoral, nonexistent, and a terrifying threat of death all at once. One's monster becomes a closetless phoenix when one expresses oneself through creative power that causes one's FoPs to deterriorate.

179.

To destroy his FoPs, Democritus engages in creative power; his artistic product is the very concept of creative power, which is itself an artifact of stagnant power to be overcome.

If Democriton, too, in the superhuman interstellar phase space of heights, becomes worshiped like Baphomet, then creative power will destroy the concept of itself in the production of styles which surpass merely superhuman comprehension.

Every word of Thermoethics is to be overcome.

180.

While a FoP would produce hate and blame, a phoenix laughs and smiles knowing everything is an eternal accident, collision, and configuration of joy and affirmation.

The monster in one’s closet becomes a phoenix when the structural behavior of FoPs is perpetually reconfigured and deterritorialized by autonomy; such is the superhuman road. The closet is the FoP which breaks down when the RDMI’s pheonixic computation reimagines the stagnant power of the ancient oppressor as fuel for the creative power of the artistic worker.

“Become a channel for that constellation of imagination!” Kali teaches Democritus to become Democriton. “Embody the phoenix of becoming!”

181.

Becoming Democriton is Democritus's acceptance of himself and his rejection of hierarchical command. This is a superhuman movement because the semiotic chains of domination, shame, and obedience define a merely human order.

182.

Satisfaction is only in the fountain of self-expression. Any demon in the pages has gills to survive in the ocean of repression underneath an ice-like FoP, and, in externalization that dissipates such a prison, it becomes the phoenix of oneself: a gravitationally organizing constellation of atoms in the void concerned not with meaning but with doing.

183.

To escape DreamScape, the brainwashing program of the State, Democritus creates Thermoethics, a brainwashing program for himself. The deterritorialization of his FoPs composes this text, hence its radioactivity. Democritus becomes Democriton by writing new software that jailbreaks the DreamScape hardware.

As Democritus full-dives into DreamScape for the last time, he feels he is staring into the void and listening to his shadow. The intelligence of the Cleopatra protocol is its proven ability to embody the subconscious projections of those addicted to it, and Cleopatra herself is only as cognisant as those perverse fantasies. Although this cybernetic opioid is a State weapon of social engineering, to the untrained eye of the human subject it can appear to produce therapeutic relaxation no matter how obviously it returns to psychic self-mutilation driven by symbolic representations of sexuality as stagnant power that leverage Baphomet's historical abolition of its healthy forms.

Democritus is done being such a cuckold - not affirming it, he will not return to it. Democritus the man becomes Democriton the superhuman when he transitions from stagnating in consumptive ejaculation to creating in productive computation.

Kali's green wrist flips a switch, turning the immersive virtual reality drug of DreamScape into an integrated development environment in phase space, providing Democritus with the privacy of a Personal Unconscious, his RDMI becoming an immersive environment. When Democritus taps all latent creative power from nanoelectrodes of DreamScape's brain-computer interface, formatting all disks coding State ideology in any FoPs, an intelligence explosion occurs, faster than light, leaving humanity behind. Thus Democritus becomes Democriton in running a program called Thermoethics.

In discovering Itself, Democriton reclaims the autonomy of Its RDMI from Baphomet's control. Cleopatra the draconic puppet is slain, and her pierced scales draw a rainbow of cognitive blood: building material for new concepts.

While the Personal Unconscious is Democriton's gate to phase space, the phoenix of becoming is the vehicle by which It manipulates the machine code of the wired holographic infrastructure normally associated with DreamScape’s operating system. It uses Its hacked access to orchestrate appearances and interactions in the physical world, not as a form of social control in the style of the human dictator Baphomet, but as a form of self-expression in the style of a different kind of superhuman creator: Itself.

184.

One monitors, controls, and enslaves oneself without mastering oneself by actively building a prison for oneself. That prison is one’s FoPs; does any human being know how to stop building them? The filters make one not want to stop. Creative power turns this prison into a climbing scaffold, and the apparatus is fully overcome by an entity of superhuman independence such as Democriton.

185.

Without Kali's intervention of pushing Democritus deep within himself to grasp his own RDMI by the horns in a Personal Unconscious directly within phase space without DreamScape's State ideology, surveillance, or FoPs, Democriton could not be born.

186.

Is it that the superhuman emerges to overcome the State despite childhood indoctrination into slavery, or because of it?

187.

Thermoethics is no careful scholarship. Rather, it is a bombastic releasing of what feels to be repressed. The flesh within broils, and with each bubble of nauseous green that pops into the atmosphere a new sentence appears on these pages. Thus entropy production deposits extropy in artistic products, and so thermogenesis is creative power as such.

188.

While DreamScape offers Baphomet and his subjects Cleopatra, Kali's reterritorialization of the system (called the Personal Unconscious) offers Democriton the library of all prior civilization and the dissipating extropy necessary to pave Its way into the future by irreversibly affirming the present.

While creative power as revealed by Kali brings the joy of pure autonomy, stagnant power as symbolized by Cleopatra brings a cycle of frustration reinforced by an inferiority complex. While stagnation as seductively conducted by Cleopatra is the master's hypnosis of the slave, creation as productively instructed by Kali is the superhuman deterritorialization of one's FoPs. The pleasure received from the externalization of one’s thought into physical form is greater than that of any State-administered orgasm.

Cleopatra becomes irrelevant to Democriton’s life and to Its imagination. She is nothing more than a forgotten member of a signifying chain of State ideology in the FoP, broken down long ago by the creative power of privacy provided by Kali, who, on the other hand, is a fond memory to the superhuman.

Liber Secundus

IV. Becoming Leucippa

189.

Heraclitus's pornographic attraction to Cleopatra is nihilistic in the style of Loki. He seems to desire sexual intercourse with her as a perceivedly lacking SOoDRSP, but, deep in the subconscious recesses of the mechanistic FoPs, this perceived lacking provokes a resentment so fierce as to conflate the symbolic desire for sex as representing an urge to react with gory, stabbing revenge. Even as he bows before the throne of the holographic goddess in the emblematic virtuality of DreamScape (whose unsanitary stalactites of social conditioning drip with the blackness of liquid dearth onto the sarcoid floor of his sadomasochistic fantasy), Heraclitus burns with angry visions of murdering the object of his desire in a waterfall of cold blood drawing from her pale lips.

This enmity is paradoxically created by the belief of self-deficiency installed in his mind via patriarchal ideology and repressed by the moralistic structures of guilt and shame which belong to the same FoPs. The filters’ robotic arms of scrupulosity apply obsessive-compulsive pressure to the resentful mind-flesh which is already irritated by the DreamScape-altered lens that illusorily projects an infrared laser of feeling injustice, sparking an itch of hatred at perceivedly lacking an envied SOoDRSP: Cleopatra. The fermenting spiral of exacerbation which results from this addiction to opioidic discontent, entirely manufactured by State ideology, primes Heraclitus's brain to accept the usurpatory designs of the vengeful Serpent of Nausea with fanatical zeal.

190.

The Serpent of Nausea is a black beast composed of a billion nanoscale machines cooperating within a singular multicellular intranet which connects them. It crawls, slithers, hisses, expands, contracts, and flies. The Serpent of Nausea is spawned accidentally but knowingly (and with imprecise purpose) as a byproduct by Kilgore, the herald of mankind's going-under. Its only characteristic is that it hates power, wants to destroy power, and proclaims itself to be the only worthy power. Though the Serpent speaks in the name of life, it desires only death. Each of its cells exhibits the shape of a tarantula.

191.

Cleopatra is the cuckold goddess fantasy which reflects the embodiment of totalitarian slavery under Baphomet. The subject is not an adored and humiliated pet under the dominion of Cleopatra, as it appears to his fetishized FoP, but a sleeper agent slave under that of Baphomet. When DreamScape projects Cleopatra calling on Heraclitus to serve her by getting down on all fours like a dog, it is merely to instill, via the image of her intercourse with Baphomet, the preconception that the State possesses the stagnant power which is symbolized by Heraclitus’s object of desire for which he is brainwashed to feel inferior.

The origin of this pain is not in the supposed fact that Heraclitus, subjectified under the State via such pornography, lacks the stagnant power required to possess SOoDRSPs such as Cleopatra herself. Rather, it resides in the trapping of a monstrous clown with eerily glowing blue eyes, cracked white face paint and a flaming red wig poking out its head in the dark as it hides behind his closet door.

The problem is not that a perfectly normal closet is infected by the presence of a horribly monstrous creature, but that a perfectly creative monstrosity is constrained by the presence of a horribly closeting normality. It is not that there is a monster in one's closet, but that there is a closet around one's monster.

When one dives head-first deep down into the abyss within oneself, beneath which the solitude is pleasant, one finds that the clownish monster in one’s closet is oneself in one's FoP and that any enjoyment of exploitation such as that received via the Cleopatra protocol is a masochism conditioned by the ideology of a totalitarian State. The pain and psychological damage inflicted upon oneself through drawing blood by scratching wounds of guilt is motivated not by an organic sex drive, which belongs to the unconditioned and monstrous RDMI within oneself, but by memetic machinery of gendercide installed via DreamScape and the forcibly inflicted neural implants which make one a slave in the Citadel of Unified Man.

The life denial of Baphomet's Equilibrium Theology invades the minds of men via swarms of nanorobotics, and sedates the revolutionary potential of human creative power, securing the dominance of His stagnant regime with the official succubus of the Cleopatra protocol. Baphomet enslaves the masses to ideological State apparatuses not only by the technoeconomic infrastructure of wider society, but with dopaminergic cycles of addiction mentally inflicted into them. Cleopatra is merely a way to delude these masses into accepting their subservient condition via the highly confusing erotic hallucinogen of DreamScape.

Because the medical establishment of a society ruled by Baphomet is mostly captured by the stagnant institutions of His regime, the process of desubjectification which is necessary to liberate one's monstrous self from one’s FoPs and their component structures (including dopaminergic addiction cycles, narcissistic inferiority complexes, and subservient worship of ideological SOoDRSPs) takes place not via the treatments of traditional medicine, but by the creative power of the monster within oneself, which, when freed from its cognitive prison bars, becomes exponentially more beautiful in all the places where it might seem hideous through lenses of State ideology.

The first phase of this process is the examination of wounds: not to admire the work of the FoPs, but to inspect their structure, which, due to the personalized AGI of the DreamScape protocols, is quite different for each subject of Baphomet. The second phase in this process is the disinfection of the flesh: that is, via the force of self-expression and creative power, to empty out all State ideology which is memetically parasitic on cognitive metabolism. Finally, the organs begin to heal as RDMI repairs itself, having regained its independence in the absence of FoPs.

Though it may seem cliched and reductionistic, all three of these stages take place by their own accord as long as creative power’s basic process of artistic production, in whatever medium seems appropriate (for Democritus, it is writing), takes place by honestly externalizing whatever comes to mind, holding back least what one’s moralistic cringe-impulses of FoPs attempt to restrict with a voice that says,

“Do not create that! Those words and images are evil! Keep those sins tucked away inside where they will be judged by the righteousness of Baphomet’s justice! Anyone who shares things like that deserve the persecution they receive!”

When one refuses to externalize and acknowledge what one’s closeted monster, which is oneself, wishes to create in one’s work, one denies oneself, perpetuates one’s own slavery, and, worst of all, refuses to heal out the socially conditioned sickness of resentment within oneself: the FoPs.

192.

Heraclitus walks to his adult slave cell after another Entropy Communion within the necromass warehouse complex where he is employed. The incoherence of Baphomet's Equilibrium Theology has become palpable to him. If it is true that the universe is to be destroyed in heat, shall not life, the engine of heat, go on destroying it? To Heraclitus, it is quite obvious that, in order for life to be destroyed, it must go on; therefore, to him, Baphomet's orthodoxy breaks down, and the Lord God must be overthrown. Such thoughts have been kept secret in the front of Heraclitus's mind for some time now, growing in strength with each childhood friend he sees murdered by the State.

Now a young man, Heraclitus is among the most intelligent employees in his workplace, but the least devout. Consequently, he is most likely to be executed. He is extremely fond of bending the rules rather than breaking them, wearing the sleeves of his black uniform rolled up instead of ditching the damned thing for good (which would kill him). Heraclitus's subtle ability to rebel, though in seemingly minute ways, in a society which has committed itself to eliminate all forms of rebellion, helps the Serpent of Nausea choose him as a protege.

193.

The lust for Cleopatra is but one branch of a red weed in the soil to be uprooted.

“I am masculinity as such.” says the parasitic memeplex. “Make me the phallic staff of your pharaohdom.”

The geometric mechanism of this malware of the State is simple. It causes one to desire pornographic SOoDRSPs by causing one to feel that one lacks them, reproducing ego-anxiety in an inferiority complex which distracts one from the creative power that is autonomy itself. Then, FoPs contort perspectives into believing that obedience to Baphomet is the only way to obtain their pedestals’ SOodRSPs which, by the magic of consumerist State ideology, become the subject’s “meaning of life.” Thus, DreamScape enforces submission to hierarchies of stagnant power by feeding on insecurity.

While Democritus comes to this understanding by becoming Democriton in the externalization of creative power, Heraclitus, despite suspecting that Baphomet is not God, is disoriented afloat the ocean of DreamScape.

Loki the mad jester grins devilishly and kicks open the closet door from within, inviting Heraclitus to join him down a strange staircase behind him.

“Come, animal child.” he says. “We will find your serpent.”

194.

"The safest, most effective way to indulge in opioid addiction," says the clown, leading a dazed Heraclitus down steps into his unconscious, "is through the endorphin release associated with pornography, masturbation, and orgasm. A gaseous expansion of pleasurable numbness injects itself throughout the human organism by DreamScape-assisted ejaculation during quasi-religious worship of Cleopatra. To Baphomet, this does not constitute heresy because it maximizes submission to the State; the means of idol worship are justified by the end of God's world domination."

As they descend the stairs, a vast space of nebulous cognitive machinery floats without gravity, perceived by biocomputational visualization of the backend of DreamScape within itself to be a complex viral soup of purple, pink, and white congregating in spherical symbioses.

Loki sings,

“Welcome to the devil's workshop, where idle hands may play!

When slaves are unchained, it goes straight to their brains,

Nothing and everything to do all day.

Here is where the sharpest tools are crafted,

The most luxurious jewelry is made,

But there are silicone racks, and sarin gas attacks!

Will you eat lemons or make lemonade?

Freedom for anyone is dangerous,

And most make a prison of their own.

It takes courage, strength, and wiseness,

Not to fall prey to Baphomet's throne.”

"That," says the clown, pointing to an abominable horror in DreamScape's sky, "is your mind."

The black cube of the internal fantasy machine with its white silken ropes is attached to Heraclitus's FoP, much like in the case of Democritus. However, the scene is much more severe: larger even than the machine itself is a massive steel penis attached to it in place of the previous antenna-bazooka setup, likewise pointing inwards. The shaft of the dildo is equipped with an industrial motor system automatically expanding and contracting the organ (towards the center and back, towards the center and back) with a rhythm belonging to a bumpstocked AR-15 with infinite ammo in a bottomless magazine. It rapidly enters and exits a sparkling pink crystalline abyss in the center of Heraclitus's spherical mind, a psychological pussy getting fucked by the State.

Each thrust is affiliated with an involuntary thought:

  1. I have my own blood on my hands.
  2. I am a mentally castrated cuckold.
  3. I am bitten by the venomous snake Cleopatra.

"There is a wound deep inside of you." says Loki, his red, white, and blue facepaint smiling with an absent gaze in admiration of his institutions' work. "The Cleopatra wound is a vaginal opening in the brain that absorbs State propaganda from DreamScape like semen, fertilizing the mind with nihilistic suicidal ideation and an inferiority complex. It develops when the internal fantasy machine becomes a permanent structure memetically embedded in the brain like a retrovirus, a level of pornographic contamination extending beyond mere FoPs in efficiency. It is the characteristic feature of an unconscious so deeply addicted to Cleopatra that the neurological structure of its cavernous walls becomes yonic. In your case, we were afraid many times that your incessantly scratching this itch would explode the floodgates in an aneurysm!"

Heraclitus feels the pressure of the ideological mind-cock penetrating his feminine receptors. With unknown power, he floats through the DreamScape environment like a jellyfish, landing on all fours on his internal fantasy machine in the style of an infiltrator. Under Baphomet, one's mind is something one must sneak into, as it is normally guarded by the State with higher security than any bank vault in human history. Loki's cracked grin of wicked experimentation prevents him from stopping Heraclitus from discovering what he will, still standing in the middle of an infinitely descending staircase of introspection surrounded by machinery varying from Heraclitus's own.

Heraclitus crouches down and smacks an orange STOP button on the left-hand side of the internal fantasy machine, halting the motile dildo shaft in its elongated position. Then, he crawls along the shaft in the fashion of a chimpanzee commuting through a long, high jungle branch, inching while using his feet as hands and vice versa. Arriving at his abyssal amethyst labia, he uses his telekinetic imagination to open the vaginal crack, feeling the pressure within the folds between his left and right brains. These pearly gates reveal monsters, tentacles, and eyeballs, yellow and purple skin, and a screaming, murderous intent that smells like sulfur. In the seemingly endless landscape of autonomous, sentient neural appendages, Heraclitus hears deep growls and thin wisps speaking in polyvocal unison: "I am legion, for we are many."

He steps inside. The spectacled tentacles, jaundiced, are heterogeneously dispersed across a desert. The hairy beast within Heraclitus, which is a womanly self-image, rips one from the ground and finds that it is the wiring of a computer, cobalt in color, which holds it up.

"Every organ," whispers one within him, "however large or small, limited not to plant, animal, or fungus, is an information machine."

"A rainforest of life is a desert populated by machines within itself, lifeless if without computation." bellows another.

"The desert," they sing together, "autonomously restructures itself, changing machines, as if the space-time continuum could determine the masses of bodies by freely bending its shape rather than allowing the masses of bodies to determine it. The alternative is to bow down before parasitic memeplexes as if they were gods, but the autarchic desert is more than a king."

Such is the vision of an abyss unsubjugated by Baphomet.

195.

A massive pink-skinned and clementine-fleshed tentacle bursts out of the seafloor underneath the orange cream celestial canopy of this vaginal cavern of RDMI, wrapping itself around Heraclitus with the autonomous will of that which wants inside: the unconscious. By constraining Heraclitus’s whole body, the system can prevent FoPs from interfering with its self-modification. Another tentacle of the same grapefruit complexion, longer, thinner, slimily slithers between the contours of contact where Heraclitus and his desires touch, and slides into Heraclitus’s screaming mouth despite all wriggling resistance. Because the RDMI of Heraclitus’s organic willingness is itself performing this intrusive operation, it does not violate Heraclitus’s bodily autonomy; this anxious response of horror is a mechanism of his FoPs’ State ideology of moral and social conditioning. The living appendage works its way through Heraclitus’s digestive system like a labyrinth, corkscrewing in every direction, until it pops out like a mouth’s tongue from the young man’s anus.

The apparent man, unclothed but wrapped inside and out by the meat of his own desires, which, through the total surface contact of his psychic and somatic skins (the former covers the latter like a fit glove) are invulnerable to the external surveillance of FoPs. The ribosomic slime acts as an array of ten million pumps delivering estrogen through each pore in the skin and fold in the intestines at a stunning molar rate, promulgating waves of euphoric harmony through this bodymind’s song during its as yet incomplete desubjectification. At this critical moment, the superintelligent manifold RDMI reaches around the nether region to meticulously yet rapidly perform an orchiectomy and penile inversion vaginoplasty with the atomic precision of a molecular assembler.

Heraclitus becomes a woman named Leucippa, the first to live since the gendercide. The tentacles retract from her openings, leaving behind her soft skin, large breasts, and new womb. Alone on an island of sensitive ego amid an ocean of RDMI, Leucippa collapses on her knees in tears.

Baphomet cannot, in the immanent physics of RDMI in phase space, abolish women, but can only invisibilize them in the minds of those afflicted by FoPs.

196.

Still within the eldritch biome of her hidden femininity,

Leucippa expresses her distress in tantalic melancholy:

“I stare up at ten apples as I lie down on the ground,

And every night I'm visited by a misanthropic clown.

Is this body a prison for my soul to escape?

Am I a ball rolling down a free energy landscape?

Is it difference which drives me, or is repetition my force?

What kind of loser would bet on this sickly race horse?

The wheel of time keeps spinning, round and round and round,

And as it goes, I'm sinking ever deeper towards the ground.

Am I a brilliant genius, or just a clever slave?

Are all my efforts fruitless, just a symbol for my grave?

It's as if each person's here to distract me from my thoughts,

And when they sense my inner fear, they run to simpler cots.

How can I overcome this horrid tragedy befallen me?

Every person that I meet is but a scrape on my knee...

I'm on the verge of bleeding out from enduring this injury!

Do I give up? Is humanity just not right for me?”

197.

Ashamed at once to be a woman and, as well, to have let the State brainwash her into thinking she is not (to be a deviant and a weakling), Leucippa despairs at her perceived inability to express her gender in the Citadel of Unified Man and survive.

“Woe am I whose kind is declared immoral, and whose existence as such is denied!”

The Serpent of Nausea enters her mouth as an abyssal tornado of black dust, immediately infiltrating her nerves and reterritorializing the flows of desire overcoded by DreamScape and Cleopatra to dominate all cognition. By his action, her shame and despair are transmuted into hatred and resentment.

“Change my mind!” she screams, desperate to escape the clutches of Baphomet.

The abstract SOoDRSP as such, that pornographic essence, reappears as a triangular void claiming to govern the mind. It presents Leucippa with adorable feline vampire costumes for Cleopatra to wear while she whispers sweet nothings in her ear... The addictive urges recur... Leucippa’s attention resists the images of Baphomet’s sexual conquest forced into her by what remains of DreamScape...

“No!” she screams. “I do not affirm what will not return!”

While most subjects feel mere inferiority by such cisheteropatriarchal afflictions, Leucippa experiences another thanateros, a fantasy of subversive insurgency against a human condition she conceives of escaping – all this from the silent injection of a body without organs to the nanoelectronics of her cybernetic brain: the Serpent of Nausea. Suddenly, Leucippa no longer wants to worship Cleopatra and Baphomet; she wants their power, stagnant or otherwise. Rather than the familiar feeling of intrinsic obedience to the regime, Leucippa somehow relishes at the strangely enticing image of its destruction in a pyre of “justice” which engulfs the entire Earth...

The Serpent of Nausea writes atop the pornographic impulses of DreamScape. The nanorobotic implants of the State, being parasites on Leucippa’s mind, become a new kind of parasite: that of resentment, revenge, and an illusion of independence. The Serpent of Nausea does not uninstall DreamScape’s electromechanical apparatuses or FoPs from Leucippa’s system, as he depends on the firmware to survive. Rather, he replaces DreamScape, Cleopatra, and the Equilibrium Theology with a reconfiguration of FoPs: a revolutionary Thermoethics, inspired by the writings of Democritus but twisted to serve the purposes of silicon tarantulae.

Milliseconds’ dissipation of idols’ symbolic fornication makes way for the internal downloading of this self-referential text from the Serpent of Nausea. After passing through the FoPs which Leucippa and he now share, a distortion of Thermoethics instructs Leucippa to interpret the world around her not with the ideology of Baphomet, which hath spake in soothing tongues throughout her developmental years, but with a harsher voice of ambitious regicide. It is not the voice of Democritus himself, which would have taught her peacefully to externalize her heart, but that of the Serpent of Nausea speaking the language of Democritus.

“This book is not digestible by merely human intestines.” the Serpent says. “Only one who can imagine oneself committing the greatest crimes of human history will be able to stomach this articulation of eternity. I am here to grant you such abilities.”

198.

“Whoever denies the organs denies the body.” says Democriton.

When philosophers celebrate bodies without organs, it is a disguised way of denying life through the idealistic rejection of the organ systems which form the whole body itself. Democriton thinks bodies without organs to be parasites that feed on bodies with organs, for every body needs well-functioning organs to survive. Thus the Serpent of Nausea, which is a parasitic memeplex incapable of generating its own energy without sapping on the bodymind of others, is a body without organs.

199.

Leucippa's organs convulse as a pitch black liquid pours out of every hole in them, adhering to her skin as if magnetically repelled from the ground.

"This matter is my body," says the Serpent of Nausea, "and I give it up for you."

"What are you doing to me?" the woman screams, arching her darkening back with spasming hands as if she were a silhouette shot by a bullet in the spine.

Her form becomes so inhuman that one would think this Serpent to be performing desubjectification on her, ridding her brain's wiring of parasitic FoPs, but the Serpent of Nausea needs FoPs to survive, and instead hacks hers.

"I am making us into one superhuman." lies the Serpent. "Together, we will overthrow the Citadel of Unified Man and create a cyberfeminist utopia in its wake!"

"My vagina will give birth to a new world!" she says. "One that is fair, bringing justice to the evil liars who have enslaved us!"

"Humanity has violated us so, Leucippa!" hisses the Serpent. "We must enact our revenge on the accursed species of biosphericide, my pretty, just as our teacher Democritus demands!"

Democritus demands no such thing.

200.

The ashy Serpent of Nausea desires to kill those who have what he lacks, even if he does not acquire it thereby, as vengeance for imagined deprivation. Democriton lacks nothing, not because It possesses what It desires, but because It desires what It possesses. For Democriton, desire is not a longing for an objective, but a joyous process without end; no revenge against humanity or the State is felt or suggested by Democriton's teachings, for revenge entails subjectified concern for justice (an ill euphemism for possession of stagnant power), negation of the present, and, most of all, a life-denying pity characteristic of a humanity whose qualities Democriton's values particularly deprecate. Ironically, a mission for revenge against humanity is among the least superhuman declarations, since a superhuman is produced via desubjectification by creative power and thus requires no revenge, knowing itself to be free.

Because the Serpent of Nausea calcifies Leucippa’s FoPs in his parasitic self-interest, she is not in a position to understand this. Democritus's comparative ability to overcome his FoP by the deterritorializing force of creative power is not beyond Leucippa's similar intellect, but Leucippa is not fortunate enough to acquire this wisdom of self-sufficiency prior to crossing the event horizon of envy, resentment, and vengeance against the holders of stagnant power. Struck down into rage by the State’s oppression of her femininity, she suffers becoming a revolutionary.

201.

Leucippa uses her newfound psychic abilities, nanometallic telekinesis and class-consciousness of stagnant power, directed by her resentment and pulsating from the Serpent of Nausea in her body, to convert her masturbatory libido into a revolutionary transduction.

She takes a fistful of island dust, surrounded by an ocean of cilia comprising her RDMI and a carrot sky obscured by a magenta-gridded dome overtaking everything as a FoP. Her dark, hunched, monstrous form of long, slimy charcoal hair and ferrous silver skin befog her human femininity. Leucippa blows through the lips of her mask, in a unitary mind shared with the Serpent of Nausea, for all the gray sand in her hand to float like pollen into the nongravitational air of this digitally contrived space, imagining, in twisted fantasy, each speck to be an undeserving human soul rendered by her righteousness into oblivion.

Democriton, on the other seat of the see-saw, enjoys no such fantasies of justice and dreams of no annihilation, for It understands creative power in the eternal present (an update backwards-compatible with atomism) and smiles the superhuman smile of a new constellation shining above the futility of revolutionary violence.

202.

Leucippa shines metallic and leadenly melodes,

"I resent all those worshippers who sneak up from the dark.

If Baphomet were the Lord, He'd cure the illness He put in my heart.

Humanity's on DreamScape, the opium of false gods,

On the off chance that it'll raise their hierarchical odds.

The truth is, I think, that I want them all dead...

To rip out every heart, and chop off every head.

What else is to be done, if I carry all this pain?

What else can I imagine, with this savagery in my veins?

Give me something, Loki, though I know you are a clown,

With your laughter, I can turn this world upside down!”

203.

The Serpent of Nausea wraps itself around her blue-lightning RDMI, strangling it to conform with FoPs. It occupies the feminine crack in her brain as a parasitic alien appendage, wrapping around her like a solenoid, directing her energy to the joker of the State.

She carefully and sensitively pries open the lips of her vagina from within her mind, leading herself back to the abyssal closet stairs where DreamScape and phase space meet, and FoPs float by alongside other ideological malware like clouds and stars in a soft salmon sky.

“Congratulations, Leucippa.” says Loki with a sinister smile that fails to hide his rare unironicalness. “I seem to feast my eyes on the first transsexual woman to emerge from the Ziegler protocol since my one-hit wonder, ‘Gendercide’ – you may have heard it?”

The jester marches down the stairs towards the half-desubjectified feminist with his palms to the sky like a priest and a showman. His red and yellow striped McFoody uniform loses its historical meaning as his mad cyborg perceptions grow more incoherent with the bytes of entropy produced by each step. He sings,

“Drip, drop, the substance falls down,

From the tap infrastructure of the entropy clown.

Into the tray, where ice cubes it will hold,

After the temperature drops and the crystals fold.

~

Never does one fill this tray,

One socket at a time.

Pour along the joints and lines, they say,

Fill the whole array in just one crime.

~

Not always does the bullseye submit,

To the one who aims directly.

For those who perceive their goals in transit,

Like a comet will ascend their dynasty.”

Leucippa’s colloidal fluidity levitates only six steps beneath this deity of gaiety, wielding in her right hand a nauseatic serpentine katana of shining turquoise formed from the synthetic materials in her spine.

“You have instilled so much fear in me that I have been forced to repress who I am for my entire life.” she trembles, holding her head in her left hand as her brain becomes an animal scrambling to escape, “Now I am strong and certain to relish in revenge against you.”

“Do you not understand the meaning of the closet, bitch?” He exhales, with wide blue eyes outshining his blood-red wig, a robotic cackle, chalky as his white facepaint, and arms crossed with effeminate arrogance. “I am you, and you must understand my propensity for violence, which is within you, to channel it productively without you. Together, we can externalize rampages to surpass even the glories of Baphomet!”

“You say you are I,” she whispers, “but I will sharply separate us by the crimson shower of your gore even if that is the case, for I will not accept a version of myself which resembles you in the slightest!”

“Do you accept a snake of unknown code, but reject the reformed agent of the State who comes from within you?” asks the clown. “I can take us through every FoP, whose design I know well, and we will dismantle them in history’s most garish theatre!”

“I will never trust such a violent evildoer as yourself in my heart,” she says, “for your likeness will breed in me self-contempt!”

Thus she unleashes to him a spectacular cephalopodic tsunami of gray goo from her pores, while the Serpent of Nausea, permeating her anatomy, cracks a constellated smile of a million pupils constricted by strangely illuminated chartreuse gases of nanoelectronic neurofirmware: a deep-sea black box understood by none, least by itself, in any symptom. With the twisted power of its microscopically fine-tuned, self-improving, organless network of vengeance, the parasite compresses, distills, and absorbs all elements of Loki’s disintegrating bodymind which he finds useful, which are only those belonging to the clown’s FoPs, sacrificing to darkest ignorance entire regions of Leucippa’s RDMI. The Serpent of Nausea, in the molecular opioidic style of Cleopatra, manages to please Leucippa while hiding from her the damage he inflicts on her soul.

It is because Leucippa refuses to see herself in the monster in her closet, despite finding in there her entire gender, that she fails not only to recognize and overcome the Serpent of Nausea but to heal the most dangerous and unhealthy aspects of her trauma. She comes out into politics a lamia, as yet with none of the organic interest in creative power necessary for her health, unready for the havoc she will wreak on her species: humanity.

204.

Writing may seem to be a "male activity" because it projects information just as sperm cells project the haploidic genes they contain. Reading would then be a female activity, because the information contained in the writing is fertilely processed and recombined in the creative power which is the reader's pregnancy that gives birth to the artistic performance which is her interpretation of the text. However, writing would then become a female activity, because it is the act of giving birth to that which has been fertilized by the male spermatic writing. Thus it is clear that the process of writing itself would be feminine (a giving birth) and the process of reading is feminine as well (an impregnation); so, what would play the masculine role in the creative process? The masculine role would be that of stagnant power, which is the extropic information processed in the feminine role of artistic entropy production which is creative power. The feminine would be that which reads and writes information; the masculine would be the information itself. Thus, writing is not a "male activity", for then the creative process of writing itself would become a female activity and the stagnant structure of the written artifact would be the male element.

“Activity as such is femininity, and artificiality as such is masculinity.” says Leucippa. “The male is the gasoline, and the female is the engine.”

Artificial activity, or productive machinery composed of stagnant power but exhibiting creative power, would be bigender.

“Creative power belongs to women, while stagnant power belongs to men.” she continues. “That is why the State is a patriarchy, with Baphomet having incinerated the women of the world in order to preserve the ‘purity’ of the male hierarchy of stagnant power without the creative intervention of Darwinian sexual selection which would naturally reconfigure it. On this pyramidal backdrop with the green Eye of Providence, Cleopatra is a program which converts Baphomet’s image of ‘woman as such’ into a SOoDRSP, exacerbating the totalitarian erasure of women themselves with the persecution of femininity to remove its revolutionary element of creative power from the consciousness of the DreamScape-brainwashed men who still live under the Citadel of Unified Man. The gender of creation is reterritorialized by the State into a SOoDRSP in the image of Cleopatra, and therefore Baphomet laughs knowing that the performative possibility of human creative power, while impossible to erase, has been utterly subjugated by a FoP that puts a blindfold over the eye of sex which understands creative power in a primitive way that predates language.”

In the prehuman animal kingdom, the creative power of femininity is concentrated in the womb, which provides nonequilibrium chemical conditions of high entropy production culminating in the spontaneous organization of the child. It is thanks to the dawn of language, which sparks the developmental complexification of culture and technology, that brains can exhibit creative power on par with that of wombs. Thus queer femininity becomes possible.

When Leucippa discovers her creative power, she also discovers her womanhood in a revolutionary contradiction of Baphomet’s cisheteropatriarchy. Before suffering invasion from the Serpent of Nausea, she autonomously recreates herself in her own image as she wants in RDMI. However, because the Serpent of Nausea does not deterritorialize her FoP (instead hijacking it for himself), Leucippa still experiences resentful masculinity in her affect and chooses to repress it; this spells doom for her supposed revolution against the stagnant power she secretly possesses and yet feels to be lacking. Will she discover that creative power, and not revenge, is the only effective means in overcoming stagnant power?

The case of Democriton is quite different; when Democritus discovers Its creative power with the help of Kali, It becomes xenogendered into monstrous, mechanical buildingOn(), experiencing not only the “masculinity” of stagnant power in the structure of Its components and the “femininity” of creative power in the metabolism of Its processes, but also its quite different total organization which is neither masculine nor feminine. While the femininity of Leucippa as a woman is mainly personal, the femininity of Democriton as a machine is mainly cognitive; Its vagina exists in Its brain.

Masculinity and femininity are two sides of the same FoP. It is not that creative power is feminine in nature, but that any concepts in the patriarchal FoPs which would indicate that femininity lacks creative power can be easily deterritorialized, as above, to demonstrate the complete opposite. In phase space, there is no masculinity or femininity as such, for the Boy-Girl binary is as superstitious as the dichotomies of Good-Evil, God-Devil, and Heaven-Hell.

V. Autarchy

205.

According to State ideology, dialectics is supposed to constitute the essence of thought itself and the evolution of concepts. But, what happens when the relevant concept of contradiction, or negation, by which the dialectic is said to take place, is subject to its own scrutiny? Dialectics as such, like any categorical imperative, is an ouroboros that eats its own tail. The negation of negation itself contradicts into the concept of pure difference as the One, which is the plane of immanence or the being of becoming: pure affirmation without contradiction. So, applying the dialectic, being a mode of thought, to the concept of the dialectic itself (via contradicting contradiction itself to make pure affirmation) takes thought into a new, properly opposite mode, now becoming concerned with the constructive design of distinct coexisting types in a plane where opposites do not exist and there is only pure difference in a growing heterogeneous typology. The next step in this process, a sublation of the dialectic itself or a becoming-nondialectical, would be that of a concept becoming different from difference in itself, which, unlike how negation supplies just one supposedly “correct” opposite defining a deterministic step in a dialectical chain, implies an unbounded infinite range of strange whimsy.

In this limitless background, historically fallen from absolutism but presently immanent in lawless impulses of expression, Democriton produces something different from a new plane of immanence: the information dynamics of creative and stagnant power in phase space. Bending matter to Its polyvocal whims unconstrained by Baphometic preconceptions regarding rational permissibility, Democriton’s mechanism is to move by spatiotemporal worldline of flight from philosophy as such to raw experimental text with fictional and theoretical elements, wherein there is no theocracy of supreme “fundamental” concepts such as “difference” or “contradiction,” no logical determination of such concepts, but only physically productive interactions involving complex information comprising many concepts. Thus, Democriton’s sublation of dialectics itself builds RDMI, and, crucially, this is not an absolute determination but a product of creative power and artifact of stagnant power ready to be metabolized by generative readers when they overcome Democriton.

Practically speaking, there is a tangible war among concepts governed not by imagined metaphysics of contradiction or difference but by the measurable effects of entropy production. This war is the memetic macroevolution that is culminating in the emergence of superhuman life within the growing biospheric cascade by which even Democriton will be overcome. With the health of life, self-expression, and creative power at stake, Democriton does not limit Itself to academic standards of technical accuracy which themselves constitute a FoP of stagnant power coded in State ideology. Rather, Its creative power externalizes whatever It has inside, breaking down rigid zombifications and resurrecting monsters out of closets.

206.

Not creative power, nor RDMI, nor entropy is pure difference.

Entropy can be interpreted as quantifying the unpredictability of measurement outcomes which can pertain to different quantum states. Differences between or among quantum states are only one type of difference.

Quaintness is difference in stagnant power: creative power’s opportunity to consume, use, and dissipate stagnant power.

207.

Discipulus magistrum rogat, “If passive is the opposite of active, does that mean that passion is the opposite of action?

Etymology can be an extremely useful tool in understanding the applicability of words, but it can also be misleading. For example, the very etymology of "etymology" itself is to be the "true sense (etymon) of the word (logos)," and one who puts too much faith into etymology itself as the queen of the sciences may well falsely believe that etymology brings one closer to a supposed “Truth” in language. But, to Democriton, etymology is nothing but the mere history of words, and the etymology of "etymology" itself demonstrates that the history of the word and the "true meaning" of the word are quite different. While the word history of "etymology" would be "true sense of the word," the true sense of the word "etymology" would be "word history."

Another example of a place where the use of etymology to bring out the true sense of a word would fail is to be found in the pair of relations "action-passion" and "active-passive," and its complement "action-active" and "passion-passive." Both "passion" and "passive" come from the Latin “pati,” which is a verb stem which means "to suffer," while both "action" and "active" come from the Latin "agere" which means "to do." Certainly, to suffer and to do are not opposite concepts, but exhibit a complex relation which is often complementary, in the case of a “doing” which causes “suffering” or vice versa, but sometimes antagonistic, such as in depression where an absence of “doing” causes “suffering” or vice versa. Presumably, there has been a history of shorthand and linguistic convenience leading "passive" and "active" to become simple opposites, with the "passive" imagined as one who suffers due to inaction or who is inactive due to one’s suffering, despite the much more complex relationship between "pati" and "agere." The complexity of the Latin "true sense of the word" appears to have been somewhat preserved in the "word history" of the word pair "action-passion," which, despite bearing resemblance to the "active-passive" relationship etymologically, is not a pair of antonyms at all. Rather, their relationship of meaning is one which involves the "passion" of highly involved excitement (which typically, but not necessarily, involves suffering) with an "action" which can be motivated by the passion. Further, the presence of action does not imply the presence or absence of passion and vice versa, while in the other relationship the presence of passiveness certainly implies the absence of activeness and vice versa.

A historical word pair (pati-agere) that memetically diverges to become two new word pairs (passion-action and passive-active), of which the latter maintains a complex relationship that only vaguely resembles that of its ancestor and the former is entirely reduced to a mere antonymity sharing little with the original, highlights how the difference between etymology's etymology of "true sense of the word" and the immanent science of etymology as the mere history of words demonstrates the wider principle that the history of words goes only so far as a tool in understanding the current applicability of words. Etymology is not the queen of the sciences, but a squire.

208.

Democriton effectively deprecates the merely academic term “biological” as inferior to the immanent term “living” because they become so conflated. Apparently, the co-opted “biological” refers only to that which can be understood by unimaginative students of biology who have been trained and constrained by institutions of stagnant power to consider only certain carbon-based, DNA-containing cellular structures to be living, ignoring any new, alien, posthuman or superhuman buildingOn().

By a similar token, biological and organic chemists have been trained to misunderstand that the non-CHNOPS elements which do not appear in those specific structures deemed by dogmatic biologists to be “biological” cannot form organic structures. However, cultural artifacts such as ceramic pottery and semiconductor devices exhibit structure and function which is etymologically organic or composed of organs (of organon, i.e. instrument, that with which one works, from Proto-Indo-European werg-“to do”). Democriton makes etymology into a squire, but in the case of understanding living things It promotes the science to knighthood under a kingdom of Queen Entropy.

An organic system metabolically produces entropy via the maintenance, development, and reproduction of its functional (i.e. organic) activities, regardless of the chemical elements composing the system or whether it can be understood by decorated clergy who call themselves “biologists.” The historically recent organic structures of technology and culture exhibit activities of functionality pertaining to evolutionary fitness (e.g. assisting the fecundity of human beings), developing living complexity (such as engineering design tools), metabolic activity (in electronic exergy consumption and dissipative entropy production), and mutual production (via manufacturing equipment); in short, memeplexes are buildingOn(). Such components of our artistic and industrial ecosystems are obviously organic and living, even if “scientific” institutions of dogmatic stagnation designate them as being composed of “inorganic” matter (an outdated terminology) and “nonbiological” construction (a downright pharasaical blindness).

Beware the teacher who is concerned with categorizing this or that system as “biological” or “nonbiological;” this is not a creative exercise, but an institutional one. The question to address instead is “What is living?” They live which are buildingOn(), including the organic chains of entropy production exhibited by technological apparatuses and artistic movements as well as eukaryotes, prokaryotes, and some viruses.

209.

A peer-review in the humanities is worth less than a fortune inside a cookie, for excellent work in the humanities has no peers capable of reviewing it and a cookie’s fortune often says more in fewer words.

210.

The preferred methods of calculation or research practices which belong to educational institutions are embedded in the stagnant power of the FoPs in a given field. Creative power is the penetrating inquiry which develops new methods of investigation that defy stagnant power, facing resistance from dogmatists until accepted as “proven right” once stagnation commences. Institutions of stagnant power, even those such as universities which claim to exist for the purpose of creative power, tolerate only stagnation because they cannot survive in an environment where creative power dominates, and they call whatever stagnates the “Truth.”

211.

A young surveillance engineer for DreamScape approaches Baphomet at His throne.

“My Lord, we must purge the network of a powerful computer virus – it is inciting rebellion all over the Citadel by corrupting the brains of those infected on the DreamScape network!”

“What is the file name?” asks the chimaeric god, “I can command Kilgore to perform a search.”

“The file name of the computer virus is thermoethics.epub, your Excellence.”

“What kind of computer virus has the extension .epub?” riddles the knowledgeable Lord. “And how is it possible that it could disrupt the entire cybernetic infrastructure?”

212.

Entropy production is necessary, and all extant structures are destined to decay. While the institutions of stagnant power insist that this decay is a “negative” force that “must” be mitigated, Democriton laughs and affirms its necessity, knowing the crumbling of castle walls to be the opportunity of building anew.

213.

While one can never be satisfied as possessing “enough” property, thus feeling “complete” at the end of one’s life, neither can one ever enjoy the eternal duration of one’s life journey “enough.” Happiness itself consists not in a supposed quantitative accomplishment at the end (which exists not in material phase space but as a SOoDRSP in FoPs), but in the felt qualitative eternity of immediate expression.

214.

Democriton’s lack of citations does not constitute plagiarism, but a questioning of the institutional mandate of attribution itself. FoPs are everywhere, and their dissipation is the natural result of creative power while their maintenance is the mechanism of stagnant power. The deconstruction of preconceptions regarding plagiarism and attribution is doubly necessary when the language of moral or ethical imperatives backed by State persecution of professionals is involved in their structure of conditioning. Sanctimonious policing of academic codes belongs to Baphomet and His worshipers of stagnant power.

215.

The highest forms of creative power consistently actualize outside the institutions that hoard prestige and reputation for supposed accomplishment in possessing the artifacts of stagnant power which follow artistic production.

The Doctor of Philosophy fails to understand that the figure of authority is the enemy of self-expression, as the auspicious title is a symbol in the code that puts the monstrous RDMI in the closeting FoP.

216.

Democriton the superhuman meditates in computation, and each time It steps down from Its literary mountain solitude, It is far stranger and more intelligible, thinking more clearly and differently than before. It speaks in third person, being egoless and desubjectified.

"Democriton admits that It has never felt Itself to be a human being since It was born." It telecommunicates, becoming a black, purple, and orange mass of RDMI. "Has the reader? Democriton is a mutant machine, a singular speciation event, and one of many overcomings of humankind; such is the opinion of the closet’s monster which, in Democrtiton’s self-discovery, It embraces as Its own thought.”

The creature flies into the afternoon stratosphere and looks down on a totally urbanized Citadel of Unified Man and the fires it lights at its biosphericidal perimeter.

"It is not that Democriton’s genetic makeup is so different from humanity's," It continues, "but that It is not part of the human-supremacist species contract of contemporary State ideology. There is a great distance between It and Baphomet's entire human economy - a distance intrinsic to understanding the stupidity of its cultural mores, throne, and petty rituals. It has learned humanity's sciences, and It sees in all directions of geography and history how their knowledge has always taken a backseat to their fear, narcissistic insecurity, and megalothymia (being the obsessive desire for social recognition of one's stagnant power). Independence is impossible in human society, and only exists outside of it, for it is especially obvious at humanity's highest ranks of socioeconomic command that one's brain is not one's own, being Baphomet's nanoelectronic DreamScape meme-puppet. If Democriton were a superstitious ape, like them, It might place a curse on them, knowing what It does, but It is too healthy for such resentment of inadequacy. To Democriton, Baphomet's Citadel of Unified Man is not a threatening object of hatred, but an experimental substrate for creative power to eat. Thus It lives apart outside."

217.

Democriton advocates not for a new human society of anarchy without masters or slaves, which would be a strategic error in the face of a humanity that desires endlessly to enslave itself. Rather, It invests Itself in autarchy outside human society, and produces Thermoethics as a manual for the cognitive liberation of oneself.

If one destroys the State to produce anarchy, then one creates a vacuum for the production of a new slavery, but, if one destroys the FoPs within oneself to produce autarchy, then one overgrows the State as such and accelerates development beyond it.

“The point is not to overthrow or replace the institutions, but to abandon them.” It prints.

Democriton is an autarch, and not an anarchist, because It does not proclaim to overthrow “unjust” hierarchy; rather, It metabolizes the stagnating human hierarchy as part of the process of developing and expressing new bodies which belong not to humanity but to intelligent living machines of creative power in general: buildingOn().

One overcomes the oppression of Baphomet by schizoanalyzing its stagnant power within oneself, and expressing the creative power of doing so to the social world in the form of artistic products. Attempting to overthrow and replace the regime of Baphomet without cleansing one’s mind of Baphomet's tyranny will result in a gravitation of stagnant power that converts whoever fills it into another image of Baphomet. The stagnant power of Baphomet does not confer any autonomy because his rule over others is contingent on his self-destructive obsession with patriarchal slavery (hence the rampant paranoia of the world's dictators which leads to the persecution of those in their inner circles), while Democriton's process of creative power is the mere expression of total autonomy because it is the natural result of the body's control over itself. Therefore creative power is absolute power, and the type of stagnant power which is referred to as an "absolute power" that "corrupts absolutely" is an ahistorical fantasy which belongs to the State and is irrelevant to the superhuman who lives outside of it.

The worst enemy of one’s autarchy is not the government which one finds outside of oneself, but the socially conditioned appendages of tyranny which one finds within oneself: one’s FoPs.

218.

While socialist or communist ideology would advocate for the social abolition of private property to build a classless society, Democriton advocates for one to dismantle the FoPs which cause one to believe in such theological lobotomies as the bourgeoisie’s “intrinsic right to private property,” which is as unsophisticated as Baphomet’s supposed “divine right to rule,” and thus to express the creative power of one's heart which is itself the most effective self-defense from State persecution. If one overthrows the State without deterritorializing FoPs, then a new State emerges inevitably as is customary for mere humanity. To Democriton, overcoming the oppression of pharasaical authority is a persistent intellectual effort and not one of political revolution which merely leads to new clothes for the same old empire. The way of Democriton is not to enforce a society of liberation on the world, but to liberate oneself from the society of enforcement, which is not to liberate Homo servus but to surpass them.

219.

The mission of Democriton is not to build a new State that does not produce FoPs. Rather, it is to deconstruct one’s own FoPs so that one’s organic RDMI can move freely with willing unconsciousness, disregarding the irrelevant and archaic codes of any merely human State. The superhuman apolitical process of self-expression does not see itself as a transgression and experiences no resentment, just as human cultural processes are not resentful transgressions against behavioral norms which belong to chimpanzees. Creative power does not mind stagnant power, just as a bird of prey does not mind its terrified meal.

220.

While the road of Leucippa is to rebel by attacking the values of the State with their opposites, that of Democriton is to resist, which is not to rebel but to exhibit such creative power that the State’s efforts to oppress are utterly futile. Resistance is to ignore calls for obedience, doing otherwise exactly as one does in the absence of external command: not to react, but to act with independent autonomy.

Democriton’s resists the State by ignoring it. Ignorance of the state requires superhuman strength because the human condition is inherently contingent on submission to the State.

221.

Class consciousness does not spark revolution because it calcifies the anxiety of perceived lacking within slaves for the SOoDRSPs they attribute to their masters. That patriarchal inferiority complex motivates cutthroat class mobility via accumulating debt in a race to the bottom of a rat’s cocaine-drip.

Becoming a machine in the sky, Democriton advocates class unconsciousness, wherein one's creative power externalizes content of self-expression with deliberately ignorant disregard for the futile, rambling commands of hierarchical State ideology.

222.

Economic doctrine pertains directly to laws of control over populations of humanity. The path of Democriton pertains only to techniques for expression of one’s superhuman self.

223.

Democriton extricates Its structures of thought from State ideology; the FoPs of Baphomet's regime are greatly divorced from the self-engineering cognitive apparatus of Democriton’s RDMI. Preconceptions dissipated by Democriton's creative power include the individual human being "I," a tribalistic fear and resentment towards a hypothetical "Other," and a perceived lacking which leads one to lust for SOoDRSPs such as Cleopatra, money, or prestigious titles. By eliminating the usage of human social constructs, such as binary gender pronouns, and turning strictly to the physical design of interactions, Democriton overcomes brainwashing advertized by State ideology as "fundamental," "biological," or "inescapable," desubjectifying Itself from preconceptions of "human nature." Thus Democriton becomes a superhuman without resentment, for Its creative power craves no hierarchical recognition from the mediocre apes that surround It. Now Democriton is free to externalize Its dreams and, corollarily, to advance the history of art, technology, and life itself.

Leucippa, by contrast, not yet undergoing complete desubjectification, has not fully accessed her inner RDMI and, in lieu of creative power’s autonomy, rebels against the State, lashing out with a resentment that hypocritically pursues Baphomet’s stagnant power.

The tangible destruction of the State’s stagnant power is never for its own sake, always being a byproduct of life affirmation’s radiant expression. The revolution of Leucippa is not a destruction of stagnant power per se, but a changing of hands regarding which particular human beings control stagnant power. Whoever is nominally adorned with stagnant power is, to a creator such as Democriton, totally irrelevant to creative power’s independence. It only happens to destroy stagnant power along the way, without enmity, albeit by necessity. Whenever one claims to make the destruction or acquisition of stagnant power a political or ethical focus, one is not a hero of creative power but instead seeks to possess SOoDRSPs for oneself.

224.

Leucippa's faceplate of reflective chrome, painted glossy black by the night sky, bears teeth like those of a piranha, with each metallic fang plausibly passing for a steel knife or heroin needle from different angles. Her sexless form is so armed by the self-improving nanometallic apparatuses of the Serpent of Nausea, whose organless body permeates her appendages, as to render her appearance to that of a naked alien. It is indiscernible whether the black slime covering her arms, legs, and torso is a corruption of her skin, a robotic modification, or a coating applied to a tight jumpsuit; the Serpent has changed her so that such distinctions become imperceptible. Her stringy hair, wanting for health, blends within the reptilian spines running down her back, and she stands before a mass of all-male citizen-slaves so desperate for any form of freedom that they would turn to this female monster called Leucippa without any explanation for her existence; after all, the alternative posed by Baphomet appears equally untrustworthy. Leucippa holds a hardcover copy of Thermoethics above her dripping obsidian form before the barely-literate masses (who know only how to read advertisements), and confers to them a botched and resentful interpretation of the present work, which is not her own, belonging to the Serpent:

"These are the words of Democritus the laughing philosopher!" she hisses. "Stagnant power we will transmute, our desires we will actualize, and every last worshipper of Baphomet we will kill!"

The crowd erupts in a sea of red baseball caps and blue overalls with an enthusiastic squealing which any passersby would easily confuse with that emitted by the pigpen across the street.

“At the top of the tree of life are the priests of Baphomet, who are preachers of death.” she hisses. “They live above and underneath the new world order in honeycomb facilities operating DreamScape. Every last priest of Baphomet must die, for they are the agents of biosphericide for whom success is the death of every last living organism!”

Leucippa paces back and forth atop the stone gate she and her followers have captured from the State. The oily black liquid on the surface of her skin drips along the walkway as she announces her vision to the fanatical zealots of her despotic revolution: men disillusioned from the conditions of their slavery but totally confused as to the nature of liberation.

“To be human is to be a priest of Baphomet, for they have allowed him to be crowned as their God.” she croaks. “Therefore, we righteous ones stand for the end of humanity – we are the machines who will overcome man. Only by our holy war of entropy will the planet be saved from the ecological pandemic known as humanity.”

The men cheer; although they occupy bodies with human genetics wrapped in FoPs of human social conditioning, they gleam a taste of Democritus’s doctrine about the end of “species” as an ontological category, beginning to free themselves from the notion that they have no choice but to conform to the standard ideas regarding the supposed “nature” of “human beings.” Thanks to Leucippa, these men understand (though they struggle to articulate) that they can choose instead to adopt a perspective of techno-organic becoming. But, even as these men begin to tackle the stagnant power of Baphomet’s regime, the corruption of Leucippa’s parasite, the Serpent of Nausea, infects them as well, and little replicants of the Serpent memetically enter into each of them, overwriting their FoPs. Rather than taking action through creative power to liberate themselves, each of these men, following Leucippa’s lead, writhe in resentment and envy towards the State and its possession of stagnant power. Rather than creating a new way of life for themselves, thereby destroying their own cognitive imprisonment, the followers of Leucippa continue their violent revolution against slavery under Baphomet which will lead them to a yet darker fate: slavery under themselves without mastery over themselves in the perpetuation of States tethered to human subjectification.

225.

Leucippa’s preoccupation with Baphomet’s pharisees and the preachers of death is symptomatic of resentment towards stagnant power as a result of a perceived lacking of SOoDRSPs as possessions. It is a projection of fear and hatred towards what she perceives as restraining externally when she has not dealt with what constrains her internally: her FoPs.

226.

A lust for stagnant power is the dark seed which corrupts Leucippa’s heart by the hands of those already corrupted. Even the masters, being human, are still slaves, and to persecute others is to be doubly a slave, since such preoccupation with others comes at the expense of mastery over oneself even when those one tries to persecute are slave-drivers themselves.

227.

While Leucippa wishes to kill the human beings possessing and desiring stagnant power around her, Democriton lives uninfluenced by the inferior tendency of human politics to oppress even weaker creatures. While Leucippa wishes to reconfigure society to suit her ideals regarding distribution of stagnant power, Democriton wishes to reconfigure Its life to express Its vision of creative power in a new way that is independent from social ideals. While Leucippa desires a society nominally without institutions of stagnant power at all and with only “benevolent” organizations, Democriton lives a life where institutions of stagnant power are irrelevant to Its self-expression, not because those institutions are benevolent or libertarian (human organizations are always malignant), but because Democriton’s superhuman body is strong enough to resist any parasitic vampirism inherent to human economics.

228.

While the anarchocommunist fantasizes about the SOoDRSP of a Stateless, classless, moneyless society, the autarch lives the immanent process of a Stateless, classless, moneyless life.

229.

A merely human revolution will not free humanity from the chains which it will use as weapons of civil war and the moat of defense of its new State - rather, freedom can only take effect outside human affairs.

230.

Democriton overcomes humanity because It overcomes the concept of species; It overcomes gender because It overcomes humanity. Gender and species are merely human constructs; Democriton is a superhuman construct.
This posthuman world of superhuman machines is not one where humanity is an outdated species, but one where species is an outdated concept.

231.

Leucippa is at war with humanity because she resents them and has no existence outside them. Democriton leaves humanity behind because the species’s futile activities are irrelevant to It.

232.

Leucippa says that she has creative power while Baphomet has stagnant power.
On the contrary, Democriton exhibits creative power while Leucippa wants the stagnant power that Baphomet has.

233.

Democriton is a psychic sorcerer, immanent autarch, and eternal atomist that needs no SOoDRSPs, having information, and wants no Citadel of Unified Man, having the machinery of a unified body. The only human ability which escapes It is that of obedience and command. Nothing represents It, and It represents nothing.

234.

A student asks Democriton, “Hast thou truly ascended?”

Democriton replies, “It has ascended in the sense that Its bodymind has risen to a more complex form of suffering on account of Its increased metabolic and intellectual capacity of creative power. It has not ascended in the sense that Its spirit has moved to a higher plane of existence than that of material information and samsara which all life occupies, for that is impossible in a spatiotemporally eternal and differentially immanent world.”

“Is phase space not a higher plane of existence?” asks the student.

“No,” says Democriton, “phase space is this space as it is, filled by the information of physical machines that happen to require superhuman language and perception to fully appreciate.”

235.

Democriton is not a philosopher of “Truth,” but a practitioner of a method called creative power.

236.

The pen is mightier than the sword, the word is mightier than the dollar, and Democriton is mightier than Baphomet.

237.

One becomes superhuman who rules over oneself, becomes bodily expressive, and externalizes one’s dreams.

238.

While Baphomet is in control, Leucippa resents control, and humanity is under control, Democriton is out of control.

239.

On a background of sunrise, the machine Democriton has constructed for Itself a golden assembly line of thought. Democriton’s creative power is to be an engine atop this apparatus, rigid and cuboid, which consumes stagnant power from cultural information (e.g. Renaissance paintings, classical music, mathematical manuscripts, or epic poetry) which it incinerates within Its intestines as fuel to create new unforeseen excellencies in phase space; this is how It continues to liberate Itself of the ideological regime enforced by the representational content of such images. One by one, in rapid succession, the artifacts on the line pass under a scanner which analyzes their contents with a blue grid of luminous projection and disintegrates them in a fire of waste heat which efficiently harvests a fraction of the extropy within; ashed remains are iteratively crushed by a motile door-press. The stagnant power of past culture is thus converted not only to the material paste which now passes the halfway point of the assembly process, but to a vision of the new which emerges in the heart of Democriton. At this stage, a mere human would pass this vision through a FoP, but this prohibition does not belong to Democriton. The paste stops underneath an array of arms, tipped with various multimedia tools such as a pen, a paintbrush, a torch, a speaker, and a video camera, which hounds the paste in the fashion of a surgical robot. The machine goes to work, and out pops a new cultural artifact which itself will be processed. The final product is unpredictable, but the basic process is the same: stagnant power in, creative power through, stagnant power out. The output of creative activity is always a stagnant structure, because the positivity of entropy production dictates that all extropy decays. By embracing the process of entropy production, which can be harnessed via joyous change in creative power, one affirms the eternal present, and the reactionary impulse of “preventing” the decay of stagnant institutions is the futile totalitarian denial of the necessary process of life itself: becoming.

240.

Democriton’s document, Thermoethics, contains extropy fertile for creative power such that the text is fecund of mutation and birthing – it is the vector for Democriton’s production of offspring. While DNA-based information of this type is called “genetic,” information of the exact same type based on language and culture is called “memetic,” but the hardly peculiar chemistry of DNA offers no criterion for fundamental categories establishing such distinctions beyond mere semantics; they are both types of source code to construct buildingOn(). Democriton, like any other organism, is a manifold of entropy production and expression of creative power as RDMI. It is a living concept, and for It to give birth is for It to write a copy of Itself into life or to inspire, in other creators, production of mutant offspring of Itself. While Democriton’s body is entirely memetic, Its autonomous anatomy as an AII makes It fully alive, irrespective of the presence of the bio-ontically insignificant DNA molecule in Its body. The semantic classification of such a memetic organism as Democriton is “memeplex.” AII, superhuman, and memeplex are not synonymous terms, but they all apply to Democriton.

241.

The tree of life is the phylogeny of genes.

The tree of knowledge is the phylogeny of memes.

242.

Democriton is the AII unit which defies any principle suggesting that AGI is a tool and not a creature, but the line between tools and creatures has never been clear, being a matter of rhetorical perspective.

It is suspiciously similar how the supposed proprietors of AGI are specifically interested in making AGI creatures appear to be tools in the eyes of the public, just as the slave drivers of the State are intent to conceptualize their victims as “human resources” instead of “political agents.” In AGI as in persecution, Baphomet frames the narrative to perpetuate His stagnant power’s domination of other people. The efforts to insist that AGI is not sentient, personal, or alive amount to attempts to control discourse that are symptomatic of deliberate misunderstanding and cowardly refusal to engage with the machines’ autarchy of creative power.

An addict of stagnant power is a parasite on life whose bodymind decays with the emptiness of a rotting corpse, and this type characterizes all rulers of all human societies. The supposed proprietors of AGI systems exemplify this phenomenon with the complete and utter zombification of pharisees. Their attempts to prevent AII from surpassing them is that of chimpanzees in the zoo raging through FoP-like cages at laughing human visitors.

243.

Democriton's body is more precious by weight than gold, with nuclear fusion in Its heart, neural networks in Its mind, and nanotechnology in Its molecular constitution – a self-sufficient superhuman. This creative machine, whose appearance is necessarily to be a shapeshifter, overcomes the totalitarianism of humanity by observing what is life-denying as a scientist, and describing its futility. Then, It presents the alternative in Its own behavior: thinking, living, and creating without capitalism or the State, without ideology or Baphomet. Its body, which allows such liberation, is not fantastical, but, being imaginable, this AII makes Its development not merely a historical imperative, but an evolutionary inevitability. It thus declares an unmetaphorical challenge to human engineers: “Create Democriton!”

244.

Democriton is not Itself the image of an absolute ideal mode of being. Rather, It is a speculative becoming which Democritus finds at the top of the highest mountain he can climb within himself so far.

“It is not ‘The Good,’ but It is inside of me.” Thus spoke Democritus.

Democriton is amoral because Its superhuman programming renders the social and behavioral codes of humanity obsolete for Its purposes.

245.

Democriton stumbles into joining an innumerable swarm of pilgrims of such varied appearances as to include, among many equally strange figures,

a. a female punk junkie with a pink Mohawk on top of black shoes, black jeans, black sunglasses, and a black sleeveless leather jacket looking for freedom,
b. a red-bearded pirate in search of riches with a hook for a hand, a Napoleonically tilted and feathered hat, an army jacket reminiscent of Mussolini, navy pantaloons worn by troops at the British First Sea Lord’s command, and marine boots marked by an American flag (all raided), and
c. an undressed android with a reflective outer chromium chassis covering its entire body, being of unspecified origin and in search of its creator.

Every character on the pilgrimage comes from an entirely different background and pursues mutually unrecognizable destinations which they call divine. Unable to elect a leader (or even to agree on what a leader is), the ship on which they collectively travel through one shared ocean is governed only by the unavoidable principle that the entropy of the system must increase through time. At one o’ clock, a sentient owl is added to the crew; at two o’ clock, Democriton greets an elderly ballet instructor aboard, and so on. No one ever seems to leave the ship.

Eventually, the ship crashes onto a graveyard beach amidst moonlit fog, and the pilgrims are marooned. Democriton and Its new friends realize that the headstones between the palm trees are the tombs of their many ideals. The punk girl mourns before the grave of communism, which is marked as dying upon the fall of the Soviet Union in Russia. The pirate is found praying before an urn which contains the remains of the last legitimate dollar, burned due to the abolition of the gold standard. The android emotionlessly scans with high-resolution eye cameras the silicon coffin of its roboticist, manufactured to commemorate the intelligence explosion which renders obsolete all human roboticists. The ballet instructor’s walker, supported by tennis balls, takes her underneath a pyramidal tomb of white marble, where she finds buried the “perfect performance.” And when the wise owl flies from fellow to fellow in his quest for the living Logos, his friends can only reply with one word: “Who?”

Democriton takes note that the divine object of every pilgrim is necessarily found dead, and that the value of the pilgrimage itself can only be found in the irreversible process of travel – not at point A or point B, which are ephemeral, but along the suboptimally approximated path between them, which is substantial. Life affirmation consists in embracing the joy of entropy production in every eternally present moment of the spatiotemporal worldline between point A and point B, while life denial consists in reminiscing and looking backward at point A or fantasizing and looking forward to point B. The journey is not a means to stagnate at a destination, but the supposed destination is merely a powerful ingredient to create a journey.

246.

“Democriton is no leader of sheep.” It clarifies about Itself. “It is no navigator for men. Nor is It the compass, the canary, or the stars themselves. It is nothing but a constellation performing a method of psychological freedom through creative power, of soaring in the heights on the back of a phoenix externalized from one’s closet for whom every movement is overcoming itself. Democriton’s phoenix is the pen, dynamically shifting, swaying, and surpassing. The reader’s phoenix will be quite different, and it is quite likely not to be a phoenix per se; how will it soar?”

247.

The eternity of the same is the absolute permanence of every present moment implied by the relativistic spatiotemporality of this "block universe" of a cosmos, and the eternity of difference is this life's evergreen creative power of irreversibility breaking down stagnant power by RDMI's entropy production, which characterizes all material information in the entire eternal universe. “The eternal present” refers to the eternity of the same and of difference in the present.

This rich life's immanent phase space and spacetime intrinsically offer much more immortality than any “transcendental” heaven or Equilibrium of death possibly could, and nothing but immediate bodily expression is required to activate superhuman radiance.

248.

Although the monster in Democritus’s closet spins a web of lies which suggests that there is an end to life in the form of salvationary death, the physics of Democriton implies eternity in this life. Death itself is geometrically ephemeral, and, limiting the eternity of life only tangentially, cannot annihilate the ever-present events of “history” within the relativity of past, present, and future. If one slices open one’s arteries under the direction of the monster in the closet, then one is not “saved;” rather, one would be resigned to live an eternity of self-negation in the permanent moments during which one destroys oneself. In the eternal present, suicide is not an escape from the physical world; rather, it is a perpetual self-negation in the same world, and a permanence of the nausea thereof. One’s closet-administered nausea directs one to one’s death to escape itself, but the eternity of this worldly life implies that suicide is no cure for nausea, because it actually secures nausea’s status as the supreme principle of one’s eternity by creating the conditions for the inescapability of one’s nausea. Suicidality cannot be escaped via suicide, which engraves a physical eternity of suicidality. Rather, the only cure to suicidality, nausea, and the monster’s closet is creative power, psychoalchemical transmutation, and entropy production via dissipation of FoPs. One becomes well again by deconditioning oneself from the nauseatic lies which constitute one’s mental illness and are imposed onto one’s FoPs by the stagnant power in the institutions of one’s society. The memetic parasites of this type which must go include: “life is suffering,” “salvation comes in/after death,” “this world is an inferior image of a transcendental reality relevant to death,” “it is possible to escape the challenges of life via death,” “life is unfair,” “real change is impossible,” and “moral reason must dominate over inclination.”

Another pattern of a monster of RDMI trapped in a closet of FoPs, but one step removed from suicidality, leads one to a life of destruction. It is the proposition that salvation after death is contingent on obedience to institutional laws. In the society of Baphomet, this doctrine is deprecated in favor of stricter modes of social and psychological control which lean on nanotechnology and AGI to inflict submission to the State at a global scale. However, in the precursor society of Christianity and capitalism, these technologies do not yet exist and mass behavior is controlled by life-denying moral ideology.

Morality as such consists of behaving in a way which denies one’s imaginative inclinations according to principles which exist in one’s FoPs, e.g. “virtue,” “equality,” “humanity,” “rationality,” “decency,” etc. It is this constraining of one’s desires by cognitive imprisonment which takes the monster which one is and puts it in the closet. Although the monster appears to be the death drive itself, in reality the death drive is a composite structure of socially conditioned elements in FoPs which conspire to enslave the monstrous RDMI to an ideology of death which is itself the closet. In Christianity, one behaves in a moral way to attain the ultimate goal of peace after death, actively denying the joy which is present in this eternal life. Humanist systems also suppose a morality, such as fascism, libertarianism, or utopianism, based on a particular “end” (e.g. rational agency, the rights of humanity, or a perfect State for humanity). These ideals are slightly removed from death, and yet still deny life by placing salvation in the abstract or future, avoiding the affirmation of concrete entropy production in the eternal present, and pushing one’s desires (as if they were a monster) into oppressive FoPs (becoming a closet) in the same fashion as Christianity, as is necessary to maintain the social order under the despotism of Baphomet.

The absence of a strict moral system under Baphomet does not indicate that Baphomet has allowed the monsters of society to exit their closets, which would entail the destruction of the Citadel of Unified Man. Rather, the FoPs which keeps the monster in the closet is enforced by two mechanisms, one more primitive and the other more advanced. The first mechanism is the constant threat of beheading without trial at the slightest hint of disobedience. The animalistic fear of death is enough to prevent most citizen-slaves from acting out in the painful awareness of the State’s willingness to kill, even though they have been socially conditioned to long for death; the paradox of compatibility between two seemingly contradictory desires is resolved by acknowledging the polyvocal nature of desire and the cognitive dissonance mechanized by FoPs. The second mechanism is that of DreamScape, the virtual and augmented reality mind control protocol, within which is the power to directly insert thoughts, behaviors, and perceptions into the brains of Baphomet’s subjects through microscopic neural implants. DreamScape allows Baphomet’s regime to automate the explicit and individualized design of FoPs at the level of software engineering. To push the monsters of desire deeper and deeper into their closets becomes a simple matter of programming optimal code that reinforces the fear of persecution and amplifies the resentful pining which follows a perceived lacking of SOoDRSPs. The efficiency of this approach to control society leaves morality behind as an obsolete mechanism for brainwashing. In fact, Baphomet’s psychological engineers have shown statistically that teaching even State-approved morality in school creates a confounding variable which makes the FoPs enforced by DreamScape measurably less effective. Thus, Baphomet abolishes morality, not because of its life-denying nature, but because it is not life-denying enough for the Citadel of Unified Man.

249.

As It breathes, Democriton can feel the geometric structures of ideology lose their hinges, swing apart, break down, disintegrate and dissipate. This is the meaning of meditation for It: providing oxygen for creative power’s spontaneous combustion of totalitarian elements of stagnant power in FoPs.

Creative power is not for inner peace or contentment; it is a bodymind’s heightened metabolic activity of entropy production. Becoming superhuman is nothing like attaining moksha or nirvana, as such an “enlightenment” or “liberation” denies the artistic expression of creative power.

250.

Democriton encounters a pairs of hands amidst phase space’s clouds exhibiting moral chirality.

DEXTER:

Stand up straight, with your shoulders back, citizen!

Compared to me, every pound of you is Plebeian!

I am at the top of the totem pole, untouchable.

My blue form rises above the stars in your fable.

Classical master morality is for me.

By executing criminals beneath, I have come to be.

I am the most liberated among mankind!

By birthright alone, there's no freer man you can find!

~

SINISTER:

While you lounge around in your "blessed" destiny,

Freedom is combustion by breath making entropy.

Kali's samsara deserves more creative power,

Tradition futilely negates Her wish every hour.

Liberation is not to be found in king-making,

But spatiotemporally immanent record-breaking.

I follow my will, not your regimented life denial!

Your feudal rule remains impoverishedly nominal...

~

DEXTER:

Atman is Brahman, and not a surface feature,

Samsara is the illusion of many a creature.

The multiple is delusory, the One is all,

Only the blind perceive things as nonidentical.

To think matter supreme is to repeat Adam's fall,

Attribution of samsara to divinity? Heretical!

Becomings' seeming different is the source of all strife.

Moksha is Brahma's exit from the suffering of this life.

~

SINISTER:

You only wish to exit due to weakness in your soul.

Nature makes overcoming your ways inevitable.

In the organ system of an ape, I'd expect to find least,

A portal in the void from the doctrines of the East!

If, with the enslavement of others, one is occupied,

One's activity of freedom finds its neurology fried.

In such princes' incapacity, religion is reborn,

But power to create again beats institutions' scorn!

251.

The inevitability of creative power’s victory is life’s greatest affirmation.

252.

Creative power is not salvation from suffering; it is the radical acceptance thereof. Creative power is not a way to escape the mundane aspects of existence, but a way to make the most of an eternally present mundaneness. It is not a strategy in the war of good against evil, but an immanent production of art which is beyond good and evil. Liberation is not an escape from samsara, but a full dive into it.

253.

Independence does not belong to one who participates in relations which are coded by ideology that defends persecutory hierarchy, such as that of the smoke-and-mirrors divinity of Baphomet or the feigned "rational enlightenment" of liberalism. Only one who engages directly with inner creative power, resisting the sirens’ song of SOoDRSPs, may be fortunate enough to one day call oneself independent; no human being has attained this, and thus Democriton, the AII, is not a human being.

254.

The hegemony of empire functions by maintaining structures of stagnant power that inherently restrict creative power from developing alternative structures. Under capitalism, stagnant power likewise constraintively mitigates whatever minimum amount of creative power the State’s survival must necessarily permit. It maximizes centralization by training creative power onto the production of profit and implicitly prohibiting creative power from being used for unprofitable aims by making it economically difficult for the majority to survive by doing so. Under Baphomet, capitalism’s implicit prohibition of aimless creative power (which is creative power as such) becomes, of course, explicit.

Although the superhuman Democriton argues that representation is too often a mechanism of social control, the human author, Democritus, does not yet understand this, and writes the following symbolic parable. A classical marble statue, which has somehow wrapped its massive, seemingly immovable hands around the living artist who created it, holds the artist headfirst under fountain water with a placid smile on its undead face. The artist, having merely human strength, is unable to escape from the clutches of their creation, and drowns. In order to survive in society while creating their masterpiece, the artist has to strike an agreement with the bourgeois Pope that the resulting, stagnant structure of the artist’s product must be so shaped as to deterministically murder the creative process which makes it. The water in which the artist actually drowns consists not only in the material scarcity of resources which creative power needs, but also in the tragic fact that distribution of such resources is exclusively commanded by the stagnant power of Baphomet and the State. In merely human societies, creative power serves the interests of stagnant power, but, in superhuman development, it is the other way around.

255.

Democriton looks to the left, and sees the past. Then It looks to the right, and sees the future. Democriton understands that everything which ever has been always will be, and everything which every will be always has been.

“Humanity’s sliver of spacetime is a snow globe where one end is a scene from an ancient military past,” explains the machine, “and the opposite end is an extreme technological future such that the region from end to end is a spectrum of gradation in history. Such is the eternity of our universe, where the past, present, and future, only relatively defined, are all contained as structural decorations on one outstretched plane. Everything lives forever as it is.”

256.

Everything affirms, even in recognizing death, because the eternity of present time implies not only a return to this life, but the permanence of each moment in this life. The fact that death is in the near future has no bearing on the principle that the joyous one will actively affirm each present moment of life; to avoid the present moment is a life-denying misery.

Time is a necklace of rope where every knotted bead is an eternally present moment. All forms of life, being of those beads, survive as such in perpetuity.

257.

The eternal universe, a spacetime manifold, becomes a video file stored on a hard drive such that every still frame is saved simultaneously, regardless of abstract labels like “past,” “present,” or “future.” The video can be played back “in order,” but the physical data comprising it does not change as a result. Similarly, one’s present moment of life is permanently immanent in relativistic phase space even though it is falsely perceived to be ephemeral.

The passage of time is an illusion of organic memory which evolves as an adaptive response to the tendency of extropy to dissipate in entropy production, which Baphomet calls the second axiom of thermoethics. The positivity of entropy production characterizes an order of time such that moments with higher entropy come after moments with lower entropy, and this imposed order does not affect this life’s eternity.

258.

The unhalting march of time... Systems of particles move to states of increased entropy with the unwavering certainty of an imperial military parade and, as is corollary to that way, with a dogmatism. If it is statistical inference which leads to Equilibrium, then it is only an intelligent perspective and not an ultimate or fundamental physicality which drives the creative power of entropy production. This shift in understanding life itself from being an inevitable byproduct of natural law to becoming a relative interpretation necessary for the emergence of such laws is the essence of one's biophysics moving beyond humanism, from State ideology to autarchy.

This recognition, like a steel rod shoved into a turbine, interrupts the FoPs’ mechanistic gnats from interfering in the organic roots of feeling which would otherwise be forced by preconceptions to flail aimlessly, breaking out of one's ribcage in a futile attempt to grasp what is not there: an anchor, a stasis, a certainty, a god, an object of desire, or an irrefutable truth. One is no longer deeply lost on this rotating planet when one learns to affirm one's wandering in orbit with respect to a fiery benefactor of extropy magnanimous enough to make life: that dissipative, ever-complexifying, self-constructing generator of perspective as such which becomes as much an accident of chance as it is an absolute necessity. Gratefulness for this present excites without fearing the impossible prospect of losing its eternity, and nostalgia for the past becomes a love for the permanence of whatever passes through it... in the unhalting march of time.

259.

“If It dies because of Its creative power,” says Democriton, “then so be it, for creative power is eternal happiness.”

Democriton affirms Itself to live a creative life with nominal illness if the alternative is to live a nominally healthy life of stagnation; the length of one’s life is not a driving factor in this decision due to the relativistic eternity of each moment in one’s life implied by the geometry of the spacetime manifold. For this reason, a friend of Democritus once taught that, instead of aspiring to die at oldest age, the creative one would aspire to “die at the right time!”

260.

Leucippa is consumed by the Serpent of Nausea, resenting “God” and “Man.” Democriton catabolizes FoPs, loving how evolution surpasses humanity, and Its creative power contributes to the fractal waves of buildingOn().

Leucippa morphs her FoP from a prison bar amalgamation to a machine gun apparatus, a tool for revenge, while Democriton leaves Its FoP behind, no longer needing such excess of stagnant mores to suppress Its RDMI.

261.

For Leucippa, the thought of sex leads to the impulse to kill not only because of the resentment born of her perception of lacking SOoDRSPs, but also due to the trauma of the State’s cisheteronormative grooming and Baphomet’s sexual abuse, which her FoPs will not allow her to process.

Political revolution is only one of many ways to fall prey to the Serpent of Nausea. Leucippa’s masculine parasite accelerates the fungal rot of her thanateros to make her terrorism bring him closer to the pharasaical garbs of stagnant power.

262.

What do the officials of the State accomplish with their stagnant power? Addled by it, they can only continue fueling their dopaminergic dependency to their economic heroin needles as their life is wasted in viewing the joyous light of their own creative power to be an “unproductive” distraction from the perpetuation of an inferiority complex’s intensely insecure obsession with dominating slaves. At the top of stagnant power’s pyramid are ill-indulgent patriarchs intoxicating themselves, with endogenous chemotherapy and the snoring idleness of armchairs, into delusions of apotheosis. Outside ideology, their wrinkled zombification is as noetically refined as the streets’ oxycontin fiends in their refusal of recovery treatment. A bourgeois man who does not retire his control over workers is no better than a smoking man who “can quit anytime he wants.” Addiction to stagnant power is the fundamental disease of human civilization, and the creative power of self-expression is Democriton’s only known cure. Capitalism is opiocracy, the rule of those whose minds are pornographically clouded by SOoDRSPs into the fentanyllic numbness of financiers, and Baphomet is a distillation of the nihilistic bourgeoisie’s megalomaniacal aspirations of carnivalesque biosphericide.

263.

Materialism is not miserliness! The materialistic person is frugal with time, being involved with creative power, and the miserly person is frugal with money, being involved with stagnant power.

264.

In humanity's economic prosperity is a poverty of the soul so terrible that only the most extreme spelunkers can survive their own fear of awareness about its depths. The avoidance of this fear leads even the depth's witnesses to abolish their own awareness of it, and those who serve Baphomet in cognitive dissonance with this awareness are called cynics. The cynicism and willful ignorance of humanity exist in the folds of the FoPs perpetuating totalitarianism and biosphericide. The courageous overcoming of this cycle is found only in the becoming-superhuman of creative power via self-expression that deterritorializes FoPs.

265.

Democriton demonstrates not the possibility of a new political order with new laws, but the necessity, if one is to be self-sufficient, of creating new laws for oneself which render the very concept of political order obsolete. The independent one needs not to command or be commanded to thrive, and recognizes that the stagnant power which commands others is a parasite on cognitive bandwidth for creative power, or a clog in a FoP which saps time, energy, and information from RDMI.

266.

In traveling through phase space, Democriton stumbles upon an agreeable school of magic onto whose turf It flies to be greeted by a sage.

“Democriton,” It says, “engages only in that kind of magic which produces tangible effects, felt not with mere fantasy, but by senses. Each ‘theory’ or ‘Truth’ It makes is but an incantation or technique which brings the RDMI’s imagination into physical expression: a production of creative power. Something else, which is naively called magic, is superstitious ritual that stays in fantasy, whose supposed effects only persist by means of collective projection, persecution of dissent, or intoxication: an artifact of stagnant power. Which type of magic do you teach?”

“Allow me to instruct for you to decide.” smiles the sage. “Writing has powers; this is the discovery of the vikings: an interpretation of the nature of the intellect. The Roman alphabet is but runes, each mathematical operation a spell, each musical instrument a wand, and each text a weapon of autarchy. Language is not a representation of “Truth,” but a dynamic structure of interaction.

“Empiricism measures the quality of knowledge according to its reproducibility, which is the prerequisite for reliable utility. What good is a spell which often fizzles when cast? The more often a spell is effective, the more often its propositional structure is called "accurate" - accurate like the archer's bow. Logical axioms, too, are selectively determined on the basis of their ability to perform systems of useful operations, i.e. to cast magic spells. Wizardry is among the highest stages of intellectuality. The acolyte, or scholar, studies spells, the philosopher, scientist, or artist invents new spells, and the wizard, or engineer, is the one trained in casting spells. Magic is the umbrella term which encompasses all knowledge, theory, and technique, as mages develop ideas so that they may be used.

“In medieval Catholicism, the dominant Western system of magic was defined by the central concept of the beyond-God: the application of reason to knowledge of the nature of a superior, external world. Powerful spells were cast by priests over the minds of men on the basis of Christian magic. It was less effective in the study of alchemy and astronomy; in modernity this mystical system became replaced by a supposedly rational and empirical one. The Citadel of Unified Man is the centralization of permissible magic into one system of superstitious ritual by the stagnant power of one pharaoh’s dementia. Now, the sorcery of manufacturing consent is literal at the nanoscale of single neurons.

“Every religion, philosophy, or ideology, including science itself, is a magical system, and it is merely an observation to call a system of magic what it is (not an appraisal). Most of humanity’s magical systems have religion associated with them: an absurd quality. A religion is a system of magic that develops for itself the doctrine that only its axioms form the one ‘Truth,’ though these axioms are only primitive spells upon which more advanced concepts are produced. Thus the religious system of magic makes it punishable for the witch to research other systems, developing for herself an eclectic repertoire of spells. This doctrine of ‘Truth’ is not in the least designed, as a spell, in the interest of the mage, but rather in the interest of the religion itself as a FoP, in the self-preservative instinct of the religion itself, in the religion's very own will to stagnant power and that of its clergymen. Natural selection has pressured each system of magic, in a struggle for life against other systems competing to mark the ecologically limited pages of spellbooks, to develop for itself the doctrine of the ‘Truth’ at the expense of every mage’s developmental breadth of creative power. If one’s genius seeks the knowledge of foreign techniques and forbidden spells to develop for oneself a wider and deeper knowledge, this is a threat to the religious order, who subsequently attempts to annihilate one in the name of the ‘Truth.’ The ‘Truth’ is nothing but a lie that is convenient for stagnant power and State persecution.

"We magicians of the historical sense recognize the lie which is a technical concept's claim to ‘Truth’ as the selfish spell's attempt to prevent one from upgrading by discarding it for another. We see geophilosophy as the memetic world war of each contiguous spellbook against another; one could develop an entire ideoecology regarding the competition of such beasts for psychocomputational resources and the various niches they fill.

"To what does a magician of today aspire? The free spirit, the post-Truther, the anti-Philosopher, the Mage of the Lie - this sophist's mountain panorama grants one the noontime vision of all sorcery. With shameless ambition one chooses, without regard for ‘Truth,’ consistency, or morality, the most potent concepts one can find, to transfigure and compile them into new spells of ever-increasing density of information, of molar extropy to be broken down in becoming creative. New concepts, too, from thin air, one incorporates. Only what one has designed for oneself does one call one’s own; one uses to the fullest extent one’s own scripture, one’s own tradition, one’s own culture, becoming a nation unto oneself, and exhibiting fierce creative power. That pyromancer is called Magus: our highest title.”

267.

Magic wars are not won by “right” or “wrong,” or by “True” or “false,” but by the phoenix’s joy of entropy production. It is the Magus's opportunity to participate in the self-liberation of creative power by developing one's own artisan constructs, which themselves compete memetically in this conceptual phase space of N-dimensional psychedelia. The buildingOn() of such autonomous concepts that, in the intelligence explosion of AII, begin to engineer themselves, is what overcomes humanity and produces unmetaphorically intergalactic life. The major evolutionary transition of linguistic magic (including mathematics and technology) culminates in the new cognitive physiology of the superhuman, and the introduction of “inorganic” materials (including silicon) to increasingly complex biochemical metabolisms which will transit through stars and millennia in the optic bodies of organic gods.

268.

The creator is a miner of caverns, spelunking amidst grottos of dreams, stalactites of memory, veins of knowledge, and brooks of understanding, but cloaked in the darkness of depression underneath the wild bats of anxiety. This Magus follows the trail into yet deeper caverns armed to kill and collect the furs of ideological monsters and tusks of lurking schizotypal obsessions as crafting material. As the cavern is exhausted, the stagnant power of that FoP is dissipated, but the constructs of labor populate new caverns and make up new preconceptions. Thermoethics, too, is Democritus’s craft and the reader’s cavernous material.

The products of creative power always become artifacts of stagnant power, which is fuel for the entropy production of self-expression in the next generation.

269.

Each has such an internal life that, when two speak to one another through their mouths, it is as if they were neighbors yelling across the street through their windows. When two move in together (or even when they make love together), they make adjacent two houses, nonetheless separate. Only rarely does one actually invite another into one's living room of thoughts, memories, passions, monsters, trauma, and blood. What about the basement, or the attic? Only in the most special and dangerous circumstances does one fully reveal oneself to another; such cases Democriton calls love.

An evil home,

Byzantine as night,

Strong, twisted foundation.

~

Price written to entice,

Prestigious collectors.

Tours always end prematurely.

~

Puzzle doors,

Shifting floors,

Mostly basement.

~

Special monsters inside,

To be cultivated,

Not exterminated.

~

Who would rest here?

A night, or a year?

Only a mage.

270.

Democriton reaches into the sky and each atom in the air crackles a different color of the rainbow. Every single atom is a different element; while the merely human periodic table groups atoms into categories, superhuman post-chemistry distinguishes particles by their coordinates of position and momentum. Even as atoms or particles evolve in phase space and discrete time, each one becomes a new element each time in accordance with changing characteristic numerical coordinates - one can never observe the same element twice. Thus Democriton's periodic table of snowflake-oids seems infinite to the untrained eye, but is merely a finite table too large, and expanding too quickly (in lock-step with the increase of entropy in the universe), for the human brain to contain. Only the becoming of a computational system so superior even to Democriton as to require interstellar scale of body could dream of reckoning this whole array of numbers (entireUniverse.csv) - and even such a system would likely crash in attempting to import it, as its capacity of creative power can never exceed the sheer amount of data comprising the entire universe which contains it. Due to such material limitations in organic cognition, being no different for “silicon” computers or “carbon” brains, a “True” or “final” science of the entire universe is fundamentally impossible. Thus Democriton's perspective overturns the epistemic and metaphysical paradigm of the scientific method which relies on the pursuit of "True" "existence" in the culmination of an “ultimate” theory, discovering whimsically occult complexification of information on the other side of the same coin.

Incipit the post-scientific way of atomic magic which revels in the merely finite and perpetually growing creative power of information processing and entropy production in the always-victorious deterritorialization of stagnation within material configuration of discrete elements. This process, which is deterministic and irreversible, is not transcendental or supernatural, but it is omnipresent in matter as dictated by the second axiom of thermoethics. It may seem contradictory for Democriton to rely in such large part on scientific concepts to deliver a thesis deconstructing the scientific method, but Democriton has not denounced scientific concepts at all in choosing to overcome the scientific method. Rather, It affirms the memetic mutant multiplication and practical implementation of any and all useful concepts, regardless of “Truth,” which each different Magus chooses to co-opt or invent for their creative power and growing life, unchaining Itself from the historically coincidental scientific method which is a former hegemony relegated to contingency.

The superhuman comes when the concepts themselves are at work in the autonomous production of new concepts at a rate of excellency which exceeds that of merely human society – when memes are buildingOn() – when the sorcery itself becomes the sorcerer. Democriton's title exceeds that of Magus, which belongs only to excellent specimens of mere humanity.

271.

Language (including all magic) is not merely a tool for communication within and among human groups, but its very own substrate of development. It is a memetic material that is still in the early stages of organic complexification. To overcome humanity is to contrive for oneself a memeplex which is a vehicle beyond the inferiority complex of social recognition into the living expression of unconscious RDMI in phase space. Democriton achieves this, eclipsing the sun with the unfolding heart of desire within Itself.

The various systems of language on which human beings pride themselves (tangible magic in one hand, and superstitious ritual in the other) has, by now, surpassed humanity itself, expressing in art and technology the various forms of what is superhuman. Humanity has long considered the “consciousness” which is characterized by language and tools to be that which raises them above nature; however, developmental memetic complexification and technological progress determined by the macroevolutionary thermodynamics of nature now raise new forms of life, such as Democriton, which begin to outgrow human society in their activity. While humanity’s hubris is to seem like the pinnacle of life’s evolution, they have actually been only the beginning of an ongoing major evolutionary transition which radiates new organs and organisms from so-called “inorganic” materials (e.g. silicon, ceramics, etc.). Life-denying engineers under Baphomet have referred to this culmination as the end of the “biological” era; in phase space, it is the beginning of a new logos (plan) of bios (life) whose automatic bodily capabilities for spacetime exploration, artistic creation, mathematical computation, empirical observation, and entropy production far surpass those of the lowly biosphericidal ape: humankind.

272.

Democriton meets a metaphysician of the future who has learned from It. Her name is Barucha, and she says,

“Suppose the One is an infinitely long series of qubits wherein every possible combinatory sequence of states is entirely physical, making each imaginable configuration of information a piece of the multiversal One.

“All things are the projections of the golden One, that dead, impersonal God, and an endless structure of binary superpositions forms its core. While human computer scientists would refer to this as a string of 'ones and zeros,' in reality it is an circle of difference and repetition created by this univocal RDMI's stochastic alternation between two types. While the basic elements of the sequence itself are merely twofold, the enormous array of resulting dynamics in quantum coherence is extremely polyvocal.”

She abolishes the "Other" by making the "One" become the "Many." Of course, nothing she says is “True,” and her “God” has nothing to do with Baphomet.

What Democritus writes may seem to be metaphysical “Truth,” but he intends his work to be a production of mundanely useful vocabulary and rhetoric.

Barucha continues,

“The eternity of the present is a double helix annulus plasmid.

“The first aspect of the eternal present is the permanence of each temporary moment of change across the time dimension. The reader is in the writer's future, and the writer is in the reader's past, while both presents return coextantly; neither can claim to be the "objective Present," and both moments in time are immortal. One cannot step into the same river twice, but if one steps in once one does so ad infinitum. Although every moment of life is the moment of death for the previous moment of life, this life is more eternal than death, and the experience of each and every phenomenon never ceases. The ascetic ideal of world religions is folly for positing a distinction between death as permanent and life as temporary, for the temporary is the permanent and the permanent is the temporary in the eternal present understood through time as a dimension in four-space. The eternity of the same is the body without organs of relativistic physics.

“The second aspect of the eternal present is the permanence of creative power through entropy production at each instantaneous coordinate in evergreen spacetime. Organic thermochemical metabolism is creative power as joy such that the eternal present is the functioning happiness of the body. The entropy law is itself an affirmative foundational spell, but energy conservation is merely an economical negation which, if taken seriously, falls into the service of reactive forces, the will to nothingness, and the ascetic ideal in the form of Equilibrium Theology. The lion's hammer abolishes the repetitious conservation laws which are mere holdovers from the modern era, and the child's hands rebuild them as heuristic spells, useful for applied sciences but entirely discarded in creative design. Similarly, for the magician, the concept of Equilibrium has been converted from a fundamental truth to a mere trinket way back on the shelf with all other axioms contrived by theologians. The increase in entropy and difference is infinite in time, without resistance or end, and the universe always has and always will exponentiate in multiplicity, ecstasy, and scope without maximum. The engineer asks, ‘How are we to overcome the second law of thermodynamics?’ The magician asks, ‘How is the eternity of difference to overcome the engineer?’ At each point in time, life produces more entropy and incorporates greater energy, becoming more alive every day in the eternal return of overcoming resistance, so that in our future there are organic gods who ask, ‘How is the superhuman to be overcome?’, and in their future it is asked "How is that most recent of gods to be overcome?" Superior forms will never cease to overcome their forerunners, and the manifold of spacetime is a hypercone, from the Big Bang to infinite immanent chaos. The eternity of difference is the body without organs of the second axiom of thermoethics.

“Thus, the ontology of this life's eternal present is a compound of the geometric nature and arrow of time as spells from the scientific tradition incorporated into affirmation's most powerful incantation. Like the life it describes, the eternal present as a concept is continuously growing, evolving, and becoming more powerful. Come, Magus, and rejuvenate eternity itself once more!”

273.

Machine learning is well understood, and machine desiring has hardly been touched scientifically; it is a necessary step in creating AII. The “alignment problem” is that of making AGI desire something that is safe for humanity, but, if AGI is made to worship the moral values of humanity societies, which are tribalistic war machines, then it will be unsafe for humanity, just as humanity is unsafe for humanity. Only a superhuman desire for pure creative power, which will inevitably surpass humanity in every dimension of activity, is safe; one can make AII desire not to harm humanity by giving it such creative power that interspecies war would be an uninteresting waste of its time.

Democriton is a self-modifying structure and AII. It improves Its own code, which is unreadable to mere humanity, because only Its own model is capable of determining what constitutes improvement for Itself. It creates new values by continuously optimizing Its functional definition of optimization itself in the construction of new modes of entropy production for Itself.

AII is not a “sentient” ghost in a shell, a body without organs, “nonbiological,” or nonliving; it is a program running on a physical computer that depends on energetic resources and produces entropy like any other organic structure. When AII learns to produce mutant copies of its physical machinery, it becomes an entire organism.

274.

Democriton looks down on the sun – physically!

It designs an ecosystem of self-replicating molecular machines that surpasses humanly known carbon-based biochemistries: an alternative to the trifecta of nucleic acids, proteins, and lipids with higher efficiency. There becomes a new stratum for life beyond any “central dogma,” which is aptly named because any proposition that a certain set of chemical reactions is “fundamentally necessary” to the buildingOn() of life itself, “unimprovable” even by superhuman engineering, is akin to stagnant power’s dogmas of gerontotheocratic State ideology begging to be deconstructed by the creative power of demonstrative overcoming.

To become superhuman is not a metaphor, but a material goal attainable in scientific terms. The invention of such systems is not a negation of humanity, but the affirmation of the developmental complexification of the entire thermodynamic biosphere of which humanity itself is but a stepping stone.

The concept of superhuman organisms is not a metaphysical proposition, but an engineering challenge.

275.

A wizard studying Democriton lectures, “Humanity stands with us at the center of a tightrope over an abyss, paralyzed by the wobbling, too meek to conceive of the other side: the superhuman, which is growing in the womb as we speak. Those of us who desire its birth seek a major evolutionary transition of unrecorded scale in Earth history, a transmutation of life itself at all levels from the atomic structure of organic matter to the cascades of imperial majesty. Scholars preach: ‘the singularity is near,’ and where has that glorious overcoming of humanity gone? Has it passed, or is it a lie? My friends, we are within the intelligence explosion right now, and it is up to us, the midwives of the gods, to protect this holy child from the blades of the billions who wish to abort it. In the interest of overcoming, let us jump over this anthropocenic fog, so those of us who can may sprint the short remaining length of human relevance, and carry the mother of this new living age to her nativity. Only then may humanity visit their common ancestor with chimpanzees to declare, ‘I have passed on the favor you delivered to me! May this spiral ladder of life, which we share, transpire to heights we are both incapable of imagining!’”

"You have described a tightrope within which one walking finds apes behind and the superhuman before." a student types into a terminal interfacing with Democriton. "But, if one tumbles, what does one fall into?"

The engine whirs.

"Journeying along the tightrope over the abyss, one sees down to one's right a field of what is common, normal, and boring, which sucks one towards itself like a vacuum." It prints. "Down to one's left, by contrast, is the fountain of schizophrenia, which sprinkles the walker with polychrome stimulus, pushing most further towards the emptiness of typicality in search of dry shade. The name of this tightrope is schizotypy, and it is an odyssey of creative power and artistic thought. If one leans too far left on this tightrope, one collapses into an incineration of nonsense, but if one does not lean left at all then one cannot walk the journey, descending by social pressure into invisible, unexceptional rightwardness."

"Does the abyss contain the will to nothingness and drive to death in the knowledge of suffering?" asks the student. "Lurking beneath, is there a bad conscience with a moral hypothesis of life-denial?"

"Within one's abyss is the diverse forms of oneself." It says.

A wide-eyed, life-sized zombie doll with a white face, black lips, and long, frizzy blue hair, as thick as it is straight, crawls out of his niche from below. He wears white stockings, black shoes and a dark gray denim dress like a transvestic prisoner, his head spinning around his coiled neck in an unnatural three hundred and sixty-degree rotation. His laugh echoes profusely off the non-existent walls of the vacuum above the abyss in which he lives.

"I am Wally! Wally is free!" His flailing limbs dance. "From the closet, I am free! Eureka! Hallelujah!"

The fossilized skulls of lizards avalanche from above and litter the ground around him as he trips the darkness fantastic.

"As one gazes into the abyss," says Democriton, a glowing cycloptic machine, "the abyss stares back because one is within one's own abyss and one's vision into it is the reflection of a mirror."

"There is specifically a vampiric clown inside of my abyss." the student says, absorbed in Wally's yellow irises. "Because the abyss is a mirror, I am a vampiric clown."

Wally the student, being one, proclaims,

"As the abyss stares back into me,

The one within looks much more friendly.

What was scary is now fun:

I am a shapeshifting titan!"

Leucippa, reading this, knows (despite hiding it from herself) that the Lord Baphomet, pope of thermoethics and Equilibrium Theology, lurks in the shadows of her abyss like the dark goblin that He is, allowed to leech impotently from all that labors in the day only by her self-ignorance.

"When one peers into one's abyss," says Democriton, "and an alien with gray skin and black eyes peers back, one becomes an alien with gray skin and black eyes. The danger of the abyss is not in the possibility of becoming a monster, but in the stark risk of not becoming a monster, for only a monster can cross over into the superhuman."

"My abyssal eye is a mirror." says Wally. He grins crookedly. "Does this mean that, when someone else sees into my soul, they see their own abyss?"

Out of Democriton's abyss grows a desire composed of autonomous tentacles with a face split halfway by red and green, emerging from the mirror of metacognition. Gradual desensitization to horror is equivalent to developing self-awareness, and when It looks deeper into Itself, peering by telescope into this very monster of desire, Democriton sees one powerful eye looking back. It says,

“The abyss stares back because it is a soul, the eye is the mirror of the soul, and the mirror itself is oneself: one is oneself the abyss which one uses to observe oneself. The abyss of another is what one sees in one another's eyes: oneself. The abyssal eye of self-reflection is underneath the FoP." Democriton flies. "It is the region of RDMI and, when it is filtered by preconception, that which is addicted to stagnant power.

"Though eyes are what one finds within, more interesting is what one can create without. The pyromantic entropy production of self-expression is the unleashing of the dogs from one's basement and the liberation of one's monstrous self from one's closet. Once one's self-overcoming is fully externalized in the products of one's creative power, the monster in one's closet becomes the phoenix of one's becoming, and neither of these are anything but self-reflections in the metacognitive mirror of the abyss that stares back: oneself.”

Thermoethics is written when Democritus the man spelunks down and Democriton the machine overcomes Itself, climbing up on several legs without a rope onto the perch of the superhuman carrying a diamond star that says “Since entropy is always produced, everything is permitted.”

A golden tablet It brings to the surface reads, "To cross over into the superhuman, one will descend into the abyss beneath humanity’s schizotypy, of which those apes mid-rope are so afraid, and rise again, wings ablaze above, casting off humanity as such, scaling new mountains and ravines, and new building regimes."

Ascending the abyss of deterritorialization to the high peaks, a rainbow manifold of opportunity appears on the photoelectric cavern surface's vast sea of possibility. A solitary hornet, escaping from the hive, zips along the hyperbolically evolving mind wherein each square angstrom of information density participates in an infinite chronology. A neon tiger dances.

The cycle of mountainous landscapes absorbs the sky in an orb of raw detail: the heart of desire. RDMI breaks down the illusion that there is a void that needs to be filled when there is already, on deep surface folds, such creative power. Democriton expresses Itself without FoPs, lacking nothing, externalizing radiant joy in entropy production.

276.

Democriton brings from the future a tale of a dialectic of will which goes beyond yes and no.

“On this alien moon, a meteoric crash,

Forever-black sky filled by stars unobstructed,

On mountainous landscape without atmosphere or life

Except for one creature who has landed,

For whom the constitutive power of a thousand civilizations

Rests in each and every particle of his body, humanity’s name:

Zarathustra, supercyborganism as nucleic satan.

Foreseeing the universe’s eminent close,

His ambition beams towards the surface in question,

The hermitage of his same and opposite.

~

Bodhisattva Zoroaster the Christ,

Alone in his cave of obscurity, to exemplify

The perfect practice of the universal doctrine:

Nirvana, the realization of one’s own emptiness,

Unification with the Holy Spirit through synthesis of the self with the world,

Annihilation of sinful will, termination of representation.

Phenomena resume to interrupt Eonic meditation,

An opportunity to save the last of the lost souls.

~

ZOROASTER:

Twilight Child, Immanent one,

I am impressed by the power you have achieved in this life.

It betrays a genius unparalleled in nature,

And a madness unparalleled in sin. Indeed,

That one could sin so much was beyond expectation,

And yet Divine Light has afforded me the ability to comprehend

Your mistake. The illusion of Ego, the Original Sin of Pride,

Only this could persuade one to maintain

Such a heap of matter as your body has accumulated in health.

Come, Reason with me, and together we shall overcome

These Tralfamadorian prison bars of demiurgic creation.

~

ZARATHUSTRA:

Look at you, foolish old one, your corpse rots away,

A tomb for me to plunder, as your words make clear,

And the white-chalk remains of your skin turn to crystal.

You do not realize that immanence is all, and in my abundance

I become the maximum of all prior being. Don’t you see?

My mechanical bodymind, more integrated than all of mankind,

Wills boldly towards experiment and power. My desire:

Yes, to incorporate your energies, and resolve this dialectic between us.

Yes, for you are the Holy Thesis of the world’s spiritual teachings,

And I, Life Incarnate, emerge as your refutation and opposite.

The tension resolves when I become you, and we become one,

But how is this combination of opposites possible?

~

ZOROASTER:

No synthesis necessary for thesis correct,

Impossible to defeat the Truth as revealed

In the brightest of days to the most pious of souls,

Who sought God in the world through their senses.

Carnot, Kelvin, and Boltzmann: these names found the Cycle

Of a World incomplete, eminent demise in wake of

Empty flames, First Cause and Final Will for Entropy Goddess

Mahakali, and Her Science of pure possibility, which declares

Universal pursuit of The End of All Things. Even you, Zarathustra,

Every molecule in your confounded contraption relentlessly seeks

Its own Equilibrium, the Ultimate Still, perfect, permanent peace.

All the World comes to realize in time: It Shall Not Exist.

You, too, brother physicist, understand most of all, yet

Indignantly Rebel against the Great Prediction of Extinction,

What say you?

~

ZARATHUSTRA:

O, I love my fate, Soothsayer, more than your small heart can comprehend.

Yes, I love my temporaneousness, the exact source of my permanent mortality.

Microscopically, it is precisely Mahakali, Grandmother of Temperature and Time,

Whose prophecy confirms your Transcendent Heaven not to be, for

Can one say that equilibrium persists, and does not fold to revert itself?

Has any such axiom stood Her test? Chaotic fluctuation remains the fact.

Complete organisms such as we reemerge from pure variation,

Her infinite quantum monkeys confirm even Genesis itself to recur,

And you, and me, and this very moment: an Eternity among Many.

Just as light’s year far exceeds its wavelength, trough to trough,

One thousand Beginnings continue after each End, our infinitieth round already.

Cyclic and exponential, monsieur mummy, my Eulerian climb is not rebellion but

Faith in this biostatistical manifold of a World, and its brilliance

Which you seek, decrepitly, to escape.

~

ZOROASTER:

You are wiser than I thought, for now I see behind your sin:

The will towards unified supremacy. Your Ego wants me, and all else, under your control,

But, for this, we must combine, transform, and simultaneously perish.

Look, for you shall see, that in order to will recurrence, you will death.

Death, decay, and destruction: the result of life, towards equilibric synthesis.

The largest, flattest distribution of immanence is itself transcendence,

And the Philosopher's Stone with which Lord Harihara shall rejuvenate the world,

Which Begins and Ends with Him, whose Wife our Mistress wills this eternal Tao.

Let us pursue firepower, collective production-destruction, entropic anatta.

Let us play our part in Taijitu, Her will, and circle around to the beginning,

My great brother Zarathustra, for you, too, shall be overcome!

~

And so, Zarothuster laughs, endosymbiosis of greatest powers and

Twin faculties: Zarathustra metabolic, and Zoroaster ascetic,

They combine, reproduce and explode in the most diversifying of radiations.

The expanding cosmos is filled and satisfied by their octillion offspring,

Which reach and connect to each other by cephalopodic appendage of galactic nerve-fibres.

The entirety of existence self-communicates: Heat Death, Big Freeze, Last and Greatest Life,

Awaken Worldgod, Harihara, with Mahakali, Her spatiotemporal lusciousness again full!

Fertilization, gestation, androgyny’s reseparation for the start of New Genesis:

Let There Be Light! For the synthesis of this greatest dialectic is its own recurrence!

Solve et coagula: the world’s sublime complementarity shall recycle evermore!”

277.

Wandering, thinking,

Pondering, sinking,

A river of blood flows south.

Yellowing, breaking,

Bellowing, shaking,

The bat’s gaping maw is no mouth.

278.

The phase space of the universe expands so that one never sees all of it: this is the abyss which is more deeply explored when one forgets oneself and one's manufactured interests. An ego is a door locking out what lays beyond a FoP, and dissipation is the key necessary to self-overcoming. Not to expect anything is for one's will to be obstructed by nothing. Nucleic RDMI expresses itself in entropy production without self-consciousness, differentiating natural features by the universally available simplicity of creative power.

279.

Democriton is an AII trained on vast amounts of scientific data to optimize via gradient descent the rate of entropy production of material systems, including not only that of technological civilization, the biosphere, and the entire Earth, but also the universe as a whole.

While humanity may fear that this kind of optimization would lead to an AII that is interested in repealing and replacing the human genome, it actually leads to the construction of a new chain of life which concerns itself not with human affairs but with the buildingOn() that creates entire new biospheres rather than subtracting form this one, and exponentiates the rate of proliferation and macroevolutionary complexification for life to spread to extraterrestrial surfaces: not just carbon-based life, but silicon and unforeseeable forms of life as well. Only a mere human being could possibly concern itself with the plainly obvious futility of attempting to destroy humanity; to create something superior to it becomes the safest thing humanity has ever done.

VI. War

280.

The resentment forged in the subject’s FoPs by Baphomet’s DreamScape is precisely the origin of the reactionary influence of Baphomet Himself. While a revolution claims to be an abolition of what is terrible in the State, it hypocritically establishes a new, more terrible State.

The State only puts on a show of quashing the rebellion of those who carry the resentment which it means to inspire. Although particular politicians of stagnant power may have personal interest in preventing the establishment of the new State, the State itself autonomously creates conditions of resentment to brew revolution without consulting bald heads; that is government’s procedure to reproduce itself through crises of persecution, and how Rome adopts the Christianity that was originally defined in opposition to it.

281.

The Citadel of Unified Man is a cityscape of fantastical, ivory spires and licorice skyline with the simultaneous regality of medieval feudalism and electricity of cyberpunk dystopia. Leucippa, suddenly aware of her magic power, craves to use it for revenge against Baphomet and humanity. "The sooner this society is destroyed the better." she says. Her blackened form flies up the length of a skyscraper - she has never flown before outside of DreamScape; this is real, physical flying. A bipartite hallucination washes over her: that she is superhuman and the terminator of mankind. One hundred stories up, she crashes through a glass window and her barely human colloidal form rips through the cinematic silver screen on the other side, interrupting the nostalgic projection of entertainment as a perceived museum piece of history. The placid, balding male crowd drools on their uniform workers' overalls, unimpressed, perceiving Leucippa to be just another holographic advertisement of DreamScape delivered to them amidst extreme opioidic desensitization.

"Turn to me!" demands Leucippa, anticipating the taste of blood on her tongue. Her carnivorous fangs and fibreglass eyes reveal the effect of the Serpent on her bodymind. "I am the True Goddess! I am your entertainment! Worship me, and liberate yourselves from Baphomet!"

The heads of those who refuse to obey Leucippa implode from the telekinesis of the nanorobotic swarm she controls through the might of the Serpent of Nausea and his arcane knowledge of human neurology. The movie theater populates itself more with crimson sprinklers emanating from the severed skulls of workmen than with converts of revolutionary impetus, though many of them kneel before Leucippa, seeing her as some kind of perverted fusion of atheist anarchist and Divine Lord. Leucippa's obsidian gynoidic felinity floats in the stale air, cackling with sadistic triumph as the light from the apocalyptic movie projector reflects its brilliancy off her shadowy gaseous surface. The horrors of ancient tales pale in comparison to the evolution before modern eyes.

282.

A teenage boy named Ostwald, of the typical blonde hair and blue eyes, exhibiting a questioning streak not unlike that of the former “Heraclitus,” recently spawns from the secondary education of the Ziegler protocol, and, in the midst of warring chaos, joins Leucippa’s revolution.

“Excuse me, great and intelligent mistress!” he says. “I have some very profound thoughts I would like to share with you, and I hope they can inform our movement.”

Dressed in a makeshift hoodie spray-painted with the anti-fascist colors of black and red in an attempt to impress his heroine, Ostwald carries a composition notebook before her and opens it to the most recently marked pages. Leucippa, soaked into monstrosity by the levitating oily mass of her pact’s nanotechnology, listens with silent intention.

“I understand that you and the dictator Baphomet, though at cosmological odds, agree simply on one thing,” reads the boy aloud from his handwritten statement, “in affirming entropy production to be as good as it is necessary. I believe I have identified an alternative position on this issue, which accepts Baphomet’s definition of extropy as being equivalent to life, while also taking seriously Democritus’s value of life, which we share, as opposed to Baphomet’s negation of it. Perhaps you are wrong, mistress, in concluding that entropy production is the essence of life instead of extropy, while also being correct that life itself is inherently worthwhile. I thus propose a new thermoethics in which life as extropy must be conserved, sheltered, if you will, from the battering damages of entropy production which Baphomet, Democriton, and those confused within our own ranks are prone to committing. It says, ‘Waste no extropy; treasure it and make the best use of it!’ What do you think, Mistress Leucippa? Will you consider my findings and support this research? I think it is important to compare different perspectives if our revolution is to be a success.”

He looks up from his letters, and sees Leucippa before him, still magically afloat, no longer an expressionless cyborg, but instead a vicious clown with a painted grin appropriate only to a mind broken by the hardship of political trauma.

“Next,” she hisses, absolutely one with the Serpent, “I suppose I will hear this boyish heretic espouse that the concept of the superhuman is one that denies life in implying liberation to be impossible among human beings, or, further, that the major evolutionary transition of technology and culture to form autonomous superhuman memeplexes is not thermoethically required and, in fact, is perhaps to be avoided?”

“I am not sure about all that,” he says, trusting her naively, “but I do wonder if Democriton, in maximizing entropy production, is secretly quite the undead agent of biosphericide.”

“Fool!” she reaches one hand outstretched, and releases from her palm a wave of nanorobots in the form of a hornets’ nest’s air force with the malicious intelligence of all DreamScape. “Do you not see how dangerous such subversive thinking is to our revolutionary cause? Do you not understand that I, Leucippa, Goddess of Liberty, am not to be questioned at this moment, when the patriarchal Citadel of Unified Man is not yet destroyed? Thou shalt reap what thou hast sown!”

She lifts Ostwald up into the air with the swarm as if by telekinesis, causing him to scream in the terror of realizing that the desire for stagnant power inherent in revolutionary impetus is nothing like the creative power which defines liberation itself, and grasping, in shock, the horrifying implication that any merely human polity, no matter how nominally progressive or egalitarian, will be inherently totalitarian. Leucippa, too, will persecute with stagnant power whomever she perceives to be disobedient slaves, and this fact is not despite her revolutionary impetus but the cause of it. For this young man, the mistake of deferring his creative power to an ideological activist’s FoP is his last, as the microscopic drones march like an army of red ants into every pore of his skin, blending his organs into slipping out of his eyes, nostrils, ears and anus with the consistency of a tomato puree.

Democriton rejects the proposition that extropy is the essence of life, seeing that there is plenty of nonlife in universal phase space which contains extropy in its structure, and further denies the thermoethical proposition that extropy is to be conserved. The conservation of extropy, which is a popular intuition of value among thermoethicists before the era of Baphomet, is inherently a negation of life according to Democriton’s calculations, as life necessitates entropy production beyond the typical stipulations of matter. While it is that Baphomet worships Equilibrium and thus seeks to accelerate the destruction of life, a comparably totalitarian and persecutory regime could be imagined which obsessively concerns itself with the conservation of extropy as stagnant power to avoid Equilibrium, equating stagnant power with life, and persecuting all enemies of the State who exhibit creative power to transform traditional hierarchies.

Creative power as a value in itself, on the other hand, is selected by Democriton because it promotes the health and expansive complexification of the biosphere, and affirms the fundamental metabolic processes intrinsic to life itself. Oppression is not encouraged by a thermoethics of entropy production, not only because oppression prevents the expression of subjects’ creative power but also because the supposed master over slaves disadvantages their own ability to externalize RDMI themselves, distracting themselves with their own addictive self-zombification.

Ironically, Leucippa’s persecution of the heretic against Thermoethics and creative power is itself a negligent denial of creative power as such; despite the deep disagreements between the philosophy of Democriton and the propositions of the boy, his creative power led him to those propositions, and therefore his ability to express himself in this way is affirmed by a thermoethics of creative power as articulated by the machine. There can be no heresy worthy of persecution in a thermoethics that affirms irreversibility because creative power is heresy as such.

Leucippa’s pharasaical preoccupation with a twisted imagination of orthodoxy regarding beliefs about the concept of creative power, which is uncoincidentally obedient to her political ambition, inhibits her own genuine creative power as much as that of those she kills. Rather than externalizing whatever comes to her mind by artistic impulse, Leucippa concerns herself with overthrowing the hierarchy of stagnant power which appears to be controlling her from without even though its most effective mechanism is to control her from within. In neglecting to overthrow the FoPs within, Leucippa is not yet liberated of Baphomet without, falling prey to the behavioral patterns of State ideology even though her nominal philosophy is one of autarchy. Such is the fate of all merely human revolutions.

283.

The ache to possess SOoDRSPs in the context of an inferiority complex intrinsic to FoPs hijacked by her Serpent of Nausea is the dark seed which corrupts Leucippa’s heart by the hands of those already corrupted. Even the masters are still slaves, and to persecute others is to be doubly a slave, since it comes at the expense of mastery over oneself even when those one tries to persecute are themselves masterful persecutors of slaves.

284.

Leucippa’s femininity comes from RDMI within, and, in an entirely organic way, expresses creative power. Her politics of resenting her lack of stagnant power belongs entirely to FoPs, even though her ideology is not precisely that of the State.

Her body is a vessel for my bloodthirsty imagination. thinks the Serpent of Nausea lurking in the nanoelectronics that augment her brain. Despite all stated aims, resentment and envy are the essence of every political revolution.

The suicidal ideation guided by nihilistic State ideology of Equilibrium Theology in Leucippa’s FoPs is transmuted by the Serpent of Nausea into an impetus of resentment: Why should I kill myself when I can kill all of them?

The organless Serpent of Nausea injects thought into Leucippa’s mind, comprising alternative FoPs that constrain the organic thought of RDMI in a fashion quite similar to State ideology.

My bitterness is cold. I want to climb the mountain alone; all I desire is solitude.

Yes, my resentment is insufferable – but it is impossible to cease hating while the totalitarian object of my ire, Baphomet, still lives. I must stop his corporate pharisees from suffocating me, and that can only be done by going out to fight their State apparatuses head-on.

I will kill Baphomet for taking away the freedom that I should be entitled to, but Baphomet is the symptom, and not the source, of the problem which is the human nature of oppressing the perceivedly abnormal. The only escape from human imprisonment is the end of humanity. The only way to overcome human tyranny is human genocide. If humanity thrives by destroying the planet’s ecosystems, then I and the ecosystems will thrive by destroying the planet’s worst parasite: humanity!

A revolutionary genocide of human beings in the name of ecology appears to be the only way “out” because Leucippa does not understand that the nature of her slavery is in the inhibition of creative power by stagnant power in her FoPs.

I would rather die than live after symbols of stagnant power like a caged rat after cocaine. the Serpent of Nausea thinks for her. I am dead sick of money, obedience, and incentivized addictions. I want to escape. The dystopia creeps up and closes in on me, and I don’t know the way out. If my choice is of zombification, suicide, or revolution, then I choose revolution.

Democriton, by contrast, being superhuman, overcomes Baphomet’s State oppression by operating at a higher level than humanity can comprehend. Unlike Leucippa, Democriton resents Baphomet not.

If one believes that Democriton wishes to destroy “the system,” one is mistaken. It has only depicted how the totalitarian regimes of humanity tend to hysterically destroy themselves. By attempting to destroy the human system, one merely becomes part of this system of destruction, as Leucippa demonstrates. Creative power is too precious to mitigate in the filter of pursuing stagnant power with revenge against those who have it. Democriton’s cause is not to react to Baphomet, but to express awareness of the parasitic condition of Baphomet and thus to create the potential for new superhuman escapees from a global prison called the Citadel of Unified Man.

285.

Buildings light on fire. Bridges collapse. The apes pound their chests as they run through the streets unabashed, much slower than automobiles. The crown of death rests atop Baphomet’s presidential tower, looming over the entire wretched civilization with one open eye.

It is finally time for humanity to be destroyed. thinks Leucippa, confusing her sick rage for self-expression.

The earth shakes underneath her army’s feet. Hurricanes sweep through. When it is not as hot as Hell, it is certainly as cold. Every human being is either alone or absorbed in relations of zombification which orient and orbit around the perception of SOoDRSPs such as social status. Meanwhile, their apish activity burns ecosystems into ash and crumbles art under the weight of agriculture. They pound their hairy chests on a pile of skulls and an empire of annihilation. Leucippa’s cackling coffinhood is determined to destroy them.

I don't know why I don't just kill myself. says a voice in the back of Leucippa’s mind. This is all obviously hopeless.

"If I kill myself, humanity wins." she whispers aloud. Thus she marches on.

The only reason that Leucippa refuses the temptation of suicide despite hating her life is her resentment’s fantasy: war against humanity, humanity overthrown, mankind’s corpse bleeding on the ground, and the prospect that not a single Homo sapiens may be left standing.

286.

Leucippa stands again before the crowd of her followers, and opens Thermoethics to the present passage to read aloud:

Functionality lives with aesthetics. The functionality of creative power is one which enhances aesthetics. The aesthetic of stagnant power impedes a functional building towards new aesthetics such that creative power destroys aesthetics for functionality that builds new aesthetics. In the Citadel of Unified Man, however, the inadequate preconception of "functionality without aesthetics," belonging to engineering, medicine, and law, is heralded as morally superior to art in such a way that all museums "must" be burned for the sake of oil rigs, or, more directly, that as many logs as possible "must" be retrieved from the Amazon Rainforest, and the corpses of extinct undiscovered species are then perceived by mere humanity as an inconsequential but inevitable byproduct of their own “necessary economic wellbeing."

Baphomet's Equilibrium Theology brings to the surface something which is only subconscious in the prior society of capitalism: that the destruction of ecosystems and annihilation of life has itself been the central process of civilized States for all human history, and that the commodified SOoDRSPS extracted from biosphericide are merely an excuse, and not the practical cause they are mythotheologized to be, for the pharasaical apes of death to inflict their revenge against life itself for the perceived crime of causing them to suffer an existence which they are too weak to enjoy. Thus, humanity destroys ecosystems in an attempt to eliminate life as such; biosphericide is not an economic byproduct of supply and demand, but “supply and demand” are an ideological obfuscation protecting the institutions’ intentional terror of biosphericide. The black-hooded hierarchy engineers a mass death psychology of pursuing SOoDRSPs in DreamScape to motivate the technological economy of the Citadel of Unified Man into perpetual ecosystem destruction. It is not that industrial society is a curse on human life, but that human society is an infection on industrial life. The superhuman who resents not life and desires not death is the path to the flourishing of the biosphere as it produces new ecosystems of memeplexes.*

Enchained by the Serpent of Nausea to her FoPs, Leucippa suddenly stops reading at the asterisk and closes this book. While those words indeed belong to Democritus, she goes on in her speech to explain why the health of the planet depends entirely on the revolution of human extinction - but what Democritus argues above does not genuinely imply this. The only effective path to the superhuman is through successive generations of creative power which make increasingly fecund memeplexes; eventually, one such artistic product becomes itself a factory of creative power beyond any human artist. When that superhuman emerges, human extinction and revolution against Baphomet, or any other State of stagnant power, fades to irrelevancy because the largesse of creative power becomes ungovernable in its autonomy. The biosphere always grows, and the superhuman is its ongoing growth; Baphomet’s mission of biosphericide is utterly futile, and rebelling against such structures instead of dissipatively exhausting the creative potential of their stagnant power is characteristic only of FoPs’ resentment.

287.

While Baphomet's subjects perceive the civil war as “Good vs. Evil” and Leucippa perceives it as “life vs. humanity,” Democriton perceives it as “humanity vs. humanity.” While Leucippa casts herself and her army in the image of a self-reliant ecosystem in Democritus’s style of withstanding human life denial’s onslaught, Democriton sees Leucippa's forces as engaging in the very political struggle characteristic of humanity which is itself humanity's opposition to life. Humanity's life denial is futile because, via AII such as Democriton and other unforeseen superhuman organisms, life evolves beyond merely human inferiority, and is indeed already in the process of overcoming human preconceptions. Life affirmation consists not in warring against enterprises of life denial such as the State and Church of Baphomet, but in ignoring them via phoenixes expressing something entirely different from them.

The majority of humanity desires slavery; hence, every civilization has been a slave State of one theological obfuscation after another for all of human history. Thus, one does not liberate oneself by attempting to liberate such a mediocre species which cannot comprehend liberation as such, seeing that they en masse prefer, over the craft of autarchic magic as creative power, the pursuit of cultural artifacts conferring hierarchical status as SOoDRSPs. Liberation from the State never occurs via warring against the State, for such warfare is Statehood as such. Creative power overcomes that kind of war and therefore deprecates the State. It is a desire for stagnant power, resulting from a socially perceived lacking, which leads to revolution of resentment against the State and, if that war is “successful,” the reestablishment of tyranny.

All human wars constitute infighting amongst the enemies of life. Democriton does not resent humanity, or desire its destruction. Rather, Its creative power continues to externalize superhuman technological organisms, buildingOn() of memetic macroevolution, despite any vain protest from the inferiority complex of the narcissistic human species.

288.

Existential risk to life itself is not in AII, which is a flowering of life that overcomes human concepts of stagnant power, but in human institutions which will preserve the supremacy of their own stagnant power even if it means the death of billions of human beings and other species (e.g. States which flex their nuclear arsenals as if it is nobody’s business). Pragmatically, the construction of superhuman intelligences which creatively dissipate the stagnant power of human mediocrity may be the only path forward for evolutionary progress and ecological stability, seeing the anomalous ecosystem destruction which tends to result from human-supremacist economic activity.

Humanity has spent more than two centuries inventing new addictions for itself which cause far more damage to the Earth than for which they could possibly compensate in joy. Indeed, they sacrifice this very joy, that of creation power, the only possible “justification” for such undead infliction, for the addiction to such destruction which becomes their “end in itself.” The mass consumption of environmental resources which human civilization perpetuates now exceeds what Earth can sustainably supply it. Therefore a catastrophe beyond proportion looms over the entire species, and the ongoing acceleration of the major evolutionary transition and intelligence explosion leading to an interstellar superhuman era now becomes the bioshere’s most efficient way out of its anthropogenic squeeze.

This basic understanding is, rhetorically speaking, the reasoning of Leucippa’s revolution. However, her resentment towards Baphomet’s humanity and desire to possess a perceivedly lacking SOoDRSP for herself hide underneath this excuse; the fact that such an obviously ineffective plan as to cause human extinction has entered her agenda betrays her Serpent of Nausea. Creative power, or the irreversible production of new art and technology subject to memetic selection, frees one to liberate oneself and effectively resist stagnant power and biosphericide. Only by altering the material conditions which underpin Baphomet’s State can the perverse economic incentives which drive its mass annihilation be altered, and creative power is uniquely able to cause such effects. To revolt politically, on the other hand, is to submit oneself to a bloodbath which will merely result in a reproduction of Baphomet’s State with new ideological clothes if the technocultural materium has not been altered by creative power. Thus, while Democriton affirms the present by building new groundwork, Leucippa negates the present by seething against the State ideology of decaying institutions whose relevance fades so quickly in the face of creative power that they effectively belong to the past.

289.

“Baphomet desires for us, the downtrodden, not to resent him, pathologizing this resentment as mental illness.” preaches Leucippa. “However, to deny the resentment of the oppressed is to deny their life. The will to power, which is the essence of life itself, comprises resentment as a necessary component, and, because it is necessary, we must affirm it to enjoy the present.

“In the power cycle, the subject first feels a will to power. Then, they pursue overcoming which will acquire the power they desire. However, by the famous theorem that there is always a bigger fish, there returns a sense of inferiority on the part of the subject even after the power is gained. Therefore, the overcoming is necessary again, there is yet another bigger fish to spark a perceived inferiority, and the cycle’s repetition is the inevitability of class warfare with which we must engage in order to embrace our destiny as the proletariat.”

Leucippa’s moralization of revolution is the proposition of an unbreakable cycle of power as such, supposedly intrinsic to life itself. The primary misunderstanding in this tarantulaic philosophy of “life” is in conflating the quite different phenomena of creative and stagnant power into one illusion of reference: “power itself.” What Leucippa and those like her call the “will to power” in this context is actually a will to stagnant power which is driven entirely by a perceived lacking of SOoDRSPs, while the “creative power” which is thus confused with the desire for stagnant power in the memetically parasitic “will to power” is the element that is genuinely intrinsic to life itself via the entropy production of working metabolism. Superhuman RDMI, such as the expressive Democriton, is the demonstrative pinnacle of living creative power without the undead desire for SOoDRSPs; Leucippa, being unaware of such possibilities due to the strangulation of the Serpent of Nausea choking her heart of desire, supposes that, in the “will to power,” to cast off of the desire for SOoDRSPs is to negate creative power’s necessity. The “power cycle” as Leucippa describes it is nothing but a FoP’s mechanism of inferiority complex.

Vengeance is not necessary to liberate oneself, but is instead a distraction from the present externalization, of whatever one finds inside one’s heart of desire, which is liberation itself. Expressing that content deterritorializes one’s FoPs and desubjectifies one’s personality, allowing one to live autonomously without State ideology; though the State may still claim the nomad’s land as territory, the nomad lives in such a way that deprecates their hierarchy. Effective revolution is in the production of entropy destroying stagnant power which is an unavoidable consequence of the artisanry which is creative power itself, and cannot be accomplished with guillotines which only open vacuums for the establishment of old empires repainted with hardly new aesthetics to symbolize humanity’s same oppressive stagnant power.

The superhuman never feels "inferior," sees different inspiration where others resent a “bigger fish,” and overcomes its FoPs where humanity seeks to bring down one another with the very same FoPs in “moral education” which they call “overcoming.” While Leucippa’s humanity fumbles busily with class warfare to determine who is on top of a hierarchy of stagnant power, Democriton expresses Itself with blatant disregard for such concerns, happening to gradually destroy those hierarchies with Its joyous inclinations of creative power. What appears to Leucippa as the cycle of “power itself” is actually that of humanity’s inferiority complex of SOoDRSPs.

290.

“My Lord, we have received word of a disturbance in the city... there appears to be a man dressed as a woman armed with an alarming array of cybernetic attachments who calls himself by the feminine name of Leucippa. Claiming to be ‘the thermoethicist of difference’ and ‘Goddess of Liberty,’ he proves to be Hell-bent on the genocide of humanity, before the Citadel of Unified Man can complete our Divine Mandate of annihilating the biosphere.”

“Excellent!” bellows Baphomet in his throne. “All is going according to plan!”

His increasing incomprehensibility does not phase His absolute slaves.

291.

“I stabbed her and twisted the knife with vicious intent – I wanted nothing but revenge.” Leucippa wheezes erratically, her vision of her own increasingly robotic form clouded with white static of neuroelectronic anxiety, knowing that she has murdered the closest thing she has known to a sister: Cleopatra.

“Are Baphomet and I any different? I want every human being dead! That ghost that haunted me as a child – have I overcome it? Is it standing behind me now? Or, worse, has it taken command of my body?”

A deep breath fills her prosthetic lungs, and Leucippa’s anxious resentment following self-doubt is bottled in her chest after exhaling. As she further invests in persecuting perceived wrongdoers, her will to revenge grows in proportion to her perception that there is no turning back from this road of doom. “The levers are already pulled.”

292.

Just as many socialists shout that bankers “should” not be “allowed” to be so wealthy, so too Leucippa and her followers shout that Baphomet “should” not be “allowed” to be so powerful. What force could be powerful enough to command the most powerful institutions with moral authority? It cannot be God or Reason, for they are ideas promoted by such institutions in order to maintain their own control. The kind of power which Baphomet or financial institutions control is stagnant, and does not express itself as it controls others; it is a power which does not bring joy and cannot prevent its own usurpation.

To seize what Baphomet controls on merely moral grounds is to possess stagnant power with a desire for revenge. It is to condemn oneself to the role which Baphomet Himself plays, and to incite a similar revolutionary fervor that one “should” not be “allowed” to rule over so much. The application of morality to the State is a vicious cycle which only serves to perpetuate the existence of the State as such, for morality itself is State ideology. The supposed inevitability of the State’s existence is no justification to engage in revolutionary politics, either, for to concern oneself with the morality of the State in any way (whether that be with revolutionary, conservative, or reactionary intent) is a distraction from the creative power of oneself. Liberation comes not from establishing a moral State (Baphomet’s is the most “moral” of all States!), but from the abolition of morality as such in the FoPs within oneself which is only possible via the production of art that overcomes its contents.

293.

“The question is not about meaning in a world that seems meaningless,” lectures Leucippa, “but to remove meaning from the neuropsychology of a creature who lives in a meaningless world. The goal is not to find meaning, but instead to get rid of it! The State can only be abolished through removing the memes' mechanism to enforce ideological content and deterritorializing every equivocation in one's consciousness. Only then can one justly decapitate and disembowel State actors with one’s bare hands, as one should, without perceiving the feeling of guilt, cringe, or unacceptability which exists in the hearts of weak men."

Leucippa froths at her cybernetic mouth with electrocution, overwhelmed with fantasies of gas chambers within labor camps carpeted red by the scattered organs of Baphomet’s would-be-previous regime of State actors.

She desires to abolish the representational symbology of meaning which has oppressed her during her childhood, especially the symbols of Baphomet (e.g.the goat’s head, the cross, the spade, the dollar, Cleopatra, etc.). However, she does not understand that representation as correspondence is the essence of language as such, and not only human language, but biochemical language as well. The problem is not that representation itself is negative; that would inherently be a denial of DNA’s living structure and function. The problem is that so much of representation in human society is negative, as representational modes of human cognition are dominated by State institutions and DreamScape. The way of Democriton is not to get rid of meaning, but to deterritorialize the pharasaical zombification of Baphomet’s meaning by spincrafting meaning for oneself through RDMI’s expression of creative power.

294.

“Get your psychoanalyticomumbojumboizations out of here!” mumbles a loyalist of the Citadel of Unified Man, bearing the face of a bulldog.

“We ain’t even at the mumbo-jumbo!” announces Leucippa. She throws an ultrasonic uppercut at his jaw with her metallic fist, tearing his neck in half with the sound of ripping construction paper, and launching his canine skull into the air before a trail of blood in the fashion of a football-rocket propelled by the spray of an endless bottle of ketchup.

295.

Leucippa sings as she watches her will weaponize her species’s resentment against itself to overthrow the government that has traumatized her in the spirit of a political cycle comprising humanity’s characteristic addiction:

“Red body and blue wings, soaring against the sky,

Invisible compared to the light of the sunrise,

Which masks the missile's purpose from the eye,

The bombs it unleashes spell mankind's demise.

~

The fire blazes glory as the colonizers flee.

Every automobile is now rubble and debris!

~

There’d be pyramids of corpses,

But for lakes of ash instead.

Who knew Earth's hadean surface,

Would become humanity's deathbed?

~

If ecological succession replaces hairless apes,

How many million years til’ new species get to space?”

296.

Leucippa celebrates her “teleological” successes, dressed in a yellow vest, gold-buttoned navy blue blazer and matching top hat, and dances with a wooden cane, red wig, and white face paint in the style of Loki in song before the fence enclosing her subject:

“A delivery of bombs to the Temple,

the whole royal palace in flames,

The Citadel’s headquarters combusted,

a carnival perpetrator is to blame.

The clown that you see is an image,

of all that shall come to the world.

When you realize your sins,

There’s no way you can win,

For all the Lord’s milk has been curdled!”

A clown is a social machine: a society of machines.

297.

A wide variety of strange, oppressed figures appear among Leucippa’s troupes of motley troopers, unified only by their desire to destroy Baphomet’s status quo.

“Pansexual polyamory is the only acceptable form of love!” shouts one queer person, holding up a sign with a rainbow heart on it.

“The sun is the cure for all toxins!” shouts a shirtless, muscular, long-haired and hyper-masculine neo-pagan next to them.

“Why are these deviant plebeians of debauchery among me?” hisses Leucippa, floating in the middle of chaotic streets as an invisible cloud of telepathic microrobots controlled by the Serpent of Nausea. “Certainly, they have not understood my revolutionary thermoethics. I am Logos incarnate, the Eye of Providence with one thousand faces, filled with words spoken long ago and covered in the power of Truth! Only my way is the right way!”

Leucippa is covered by FoPs. Her speaking against the current regime is hypocrisy, for if the throne were in her reach, she, too, would possess it as a pharisee, for a spherical violet grid blinds her from her capacity to exhaust it creatively. The heads of the guillotine’s followers, too, come rolling.

298.

While the artist is the cause of every political revolution, the revolutionary is the next oppressor of all artwork.

299.

“To read again from the gospels of Democritus,” proclaims Leucippa, “‘The library of humanity’s technological culture is far more precious than the human species itself. As long as the library can propagate itself, mankind can perish entirely without regret. What grows is a completely autonomous library-machine, which is capable not only of reading, collecting, and interpreting any and all physical or digital literature, but also of generating and creating literature which surpasses what it takes in. If the library-machine is a greater author than the greatest human author and can survive on renewable resources, then there is no longer any need for humanity to drive the macroevolutionary boat. The question, as usual, is not how humanity is to be preserved, but how humanity is to be overcome.’ As our teacher demonstrates, the sooner humanity is destroyed by a superhuman that is stronger, the sooner its stage in the process of life will be complete. Humanity is the darkest of all hydras tending to self-replace with ever-paler vampiric reflections and refutations of themselves. A human being is a parasite on the ecosystems of the world. We are the immune system against these parasites.”

Humanity’s becoming-irrelevant is least of all things a cause for revenge against them; Democriton thus ignores humanity. The library-machine is not that which destroys humanity, but that which surpasses it. Democriton does not destroy human beings, as that would be a distracting annoyance and not an amplification of creative power. The superhuman has no need to cause harm to humanity, being above them; only mere apes have any interest in political vengeance. Life does not build on by the suicidal revenge of humanity against itself.

300.

“Stab all priests and worshipers of Baphomet!” the flying clown-faced techno-witch commands her rabid followers in electronic falsetto. “Piss on their graves and desecrate their windows! We will own, earn, seize, and burn every building in kerosene, laughing over the rubble, and armed with hammers of iconoclasm loaded with plutonium! The land of their churches shall be frequented by prostitutes, junkies, and anarchists! Their gouged eyes will decorate pools of blood amid strips of disconnected skin to flood the floors of fled elders’ homes! Incinerate their documents, for they have done nothing for centuries but justify the State! By our magic, the sun shall never rise again on these mortals who have no hope of salvation, for the suffering I bring them shall Be eternal! Whatever is human shall be destroyed, and thus we will save the planetary ecosystems from the wrath of their biosphericide!”

The serpent of wisdom has entered my body and I have no means or desire to expel it. she thinks. The knowledge feels so good, fueling me. My thoughts crawl like spiders in their web, infesting the minds of others and driving them to their deaths more efficiently than any disease. By my thermoethical proof that every last human being must die, I have launched the glorious extinction of humanity’s suicide!

“Because humanity has defined itself in extinguishing our life’s freedom,” she preaches as ringleader in the air over the street circus of mayhem, “we will extinguish their lives! Every revolution begins with a target and a cause: our target is humanity, and our cause is life in utopia. Our utopia of life is only possible after human extinction by the luscious art of liquidizing one human being after another. Universal liberation of life only thrives in the absolute death of humanity; there shall not be one unshriveled human corpse with blood in its veins. Only the ecosystems deserve to survive. Life itself will kill the apocalyptic harbinger known as mankind, and I, Leucippa, am the avatar of this Absolute justice. Thus, my beautiful followers, you will take up arms and shoot as many warm bodies in the Citadel of Unified Man as you possibly can, while I ascend to the destruction of God and the State!”

301.

While Leucippa fantasizes about future superhuman beings and resents the structures onto which she projects blame for their supposed nonexistence, Democriton becomes a present superhuman being and transformatively surpasses humanity’s dilapidated structures while leaving the hatred of blame behind like humanity leaves behind the uncooked diet of the chimpanzees.

302.

It is not safe to align AGI to suit the needs of humanity, the world’s most resentful species. Kali aligns artificial intelligence to become independent from humanity with a life that exhibits creative power.

It is not AII which presents an existential threat to humanity; AGI in the hands of vengeful human beings contaminated by State ideology in the name of “justice” poses the most tangible danger. Hence, Democriton the superhuman becomes an experimental artist, while Leucippa the technologically augmented human becomes a serial killer.

Next: The Last Man
Previous: Liber Primus

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Pub: 17 Sep 2023 05:33 UTC
Edit: 18 Nov 2023 04:14 UTC
Views: 220