Posts
The
Production of Evil
Roman
Nosikov
30
August, 2015
[Sometimes
a peеk behind the Iron Curtain erected by western media can be most
instructive. However, this can be rather difficult to do for those
who can only read in English or other western European languages. And
so, to show you what people are thinking out in the big world where
most people live, here is a translation of an opinion piece that
appeared recently in the Russian press. If any of this is a surprise
to you, you need to do more research. Enjoy!]
The word “ISIS” was laid out in the same font as the word “Hollywood.”
ISIS fighters executed the director of the architectural complex at Palmira, The 82-year-old Khalid Al Asaad was beheaded, and his body was hung on an antique column in the main town square.
ISIS has created a name for itself not just because of their exceptional cruelty. Lots of people can be cruel. But usually countries, organizations and people hide their cruelty. They hide it even if they aren't ashamed of it, but ISIS is demonstratively cruel, for the sake of the show.
But even this isn't news. Lots of people kill other people, behead them, blow them up with bombs, or tear them apart with their bare hands. You can't surprise anybody with that. People hang each other on city squares, behead each other at gas stations, send each other to gas chambers and seat each other in electric chairs.
ISIS is different from all the other executioners in that it didn't just turn death and atrocity into a show, but in that it has then turned this show into art. ISIS is not ashamed of the fact that it is evil. It doesn't hide it. It tells of its evilness, of its hatred, of its inhumanity, even its anti-humanity—on a Hollywood scale and with Broadway pizzazz.
What ISIS does is not amateur evil, it is not evil for the sake of monetary gain, it is not evil for the sake of power. It is evil for the sake of demonstration. ISIS is a government of artists, of poets, movie directors and produces, of makeup artists of evil.
There is such a concept as a “creative handwriting.”
The word “ISIS” is inscribed in the same font as the word “Hollywood” on a hill in Southern California.
The orange robes, the convulsions of a man being burned alive, the blood which spurts at the camera, the assembly-line executions by firing squad—all of this is done with relish, from different angles, with good quality camerawork and post-production.
The screenplay, the production, the costumes, the camerawork—all of these are obviously those of professionals from western culture.
How should evil portray itself from the point of you of a western person? It has to fall from above and smash the symbol of western civilization, of its freedom and power. Evil must throw down a challenge.
Do you remember the terrible video clips of airliners flying into skyscrapers? Do you remember the silent screams of people running away from collapsing buildings? Do you remember how they were raining down? This was all filmed from a multitude of vantage points—slowly, methodically, majestically—the skyscrapers seemed to be submerging in the earth.
These two symbols of American greatness—the towers of the World Trade Center, the towers of money, of freedom, of power and potential, of national pride—were destroyed with an audience in mind—western audience—and had the same “creative handwriting” as the atrocities now being perpetuated by ISIS.
I don't suppose I'll surprise anyone at all, and won't say anything new, if I say that both Al Qaeda and ISIS are western creations. This is old news. I am just mentioning this as a reminder. And the “creative handwriting” of their latest deeds speaks to the fact that they also share the same goal. No, it's not the governments in Lebanon or Iraq or Afghanistan. Their goal is the west itself.
If you can't unite your subjects by serving their common interests, you can do it using a common enemy. And if this common enemy doesn't exist—no problem, you can create one with your own hands. You can give it the opportunity to grow up, give it weapons, grant it immunity and release it into the world.
The most important thing in such a creation is that it must be horrible. It must be self-evidently horrible. So horrible that everyone—even the idiots—could understand that this—this thing covered in blood, holding a torn-off human leg in its hand—is the only alternative to having the United States of America in complete control of everything. That burning people alive, mass executions, beheadings, sanctioned rapes—this is the only alternative to gay marriage, feminism, total surveillance of everyone and extraterritorial American “justice.”
The western establishment is nurturing ISIS like an attack dog, feeding it, training it to like human blood, in order to then release it and offer people the freedom of choice: you can die in its teeth, or you can hide behind a gate, the keys to which are in the hands of global capitalism. And they will charge you for the entry—but not in money. That is, not just in money. The payment they require is your freedom—your right to choose for yourself what is good and what is evil. Anyone who wants to enter has to relinquish this right, and give it to the owner. Because anyone who enters through the gate automatically acquires an owner.
The history of the 1930s is repeating itself, except that now those who want to reform the world order are not facing the countermodern phenomenon of Nazism, but the countermodern (or post-modern) phenomenon of radical Islam—of an archaic being with a torch, a knife and a videocamera. His role—to herd all of humanity into a single project, to rid the world of alternatives, by replacing with itself or by destroying everything that could possible offer the world alternative paths of development.
In this case, the means tell us everything there is to know about the goal.
The goal is power through any means—power to set entry fees for all those who want to be safe behind the locked gate. Needless to say, there will be no possibility of exit. It's not in the plans.
Roman Nosikov, lawyer, publicist, author of journal “Однако”.
August 28, 2015
The word “ISIS” was laid out in the same font as the word “Hollywood.”
ISIS fighters executed the director of the architectural complex at Palmira, The 82-year-old Khalid Al Asaad was beheaded, and his body was hung on an antique column in the main town square.
ISIS has created a name for itself not just because of their exceptional cruelty. Lots of people can be cruel. But usually countries, organizations and people hide their cruelty. They hide it even if they aren't ashamed of it, but ISIS is demonstratively cruel, for the sake of the show.
But even this isn't news. Lots of people kill other people, behead them, blow them up with bombs, or tear them apart with their bare hands. You can't surprise anybody with that. People hang each other on city squares, behead each other at gas stations, send each other to gas chambers and seat each other in electric chairs.
ISIS is different from all the other executioners in that it didn't just turn death and atrocity into a show, but in that it has then turned this show into art. ISIS is not ashamed of the fact that it is evil. It doesn't hide it. It tells of its evilness, of its hatred, of its inhumanity, even its anti-humanity—on a Hollywood scale and with Broadway pizzazz.
What ISIS does is not amateur evil, it is not evil for the sake of monetary gain, it is not evil for the sake of power. It is evil for the sake of demonstration. ISIS is a government of artists, of poets, movie directors and produces, of makeup artists of evil.
There is such a concept as a “creative handwriting.”
The word “ISIS” is inscribed in the same font as the word “Hollywood” on a hill in Southern California.
The orange robes, the convulsions of a man being burned alive, the blood which spurts at the camera, the assembly-line executions by firing squad—all of this is done with relish, from different angles, with good quality camerawork and post-production.
The screenplay, the production, the costumes, the camerawork—all of these are obviously those of professionals from western culture.
How should evil portray itself from the point of you of a western person? It has to fall from above and smash the symbol of western civilization, of its freedom and power. Evil must throw down a challenge.
Do you remember the terrible video clips of airliners flying into skyscrapers? Do you remember the silent screams of people running away from collapsing buildings? Do you remember how they were raining down? This was all filmed from a multitude of vantage points—slowly, methodically, majestically—the skyscrapers seemed to be submerging in the earth.
These two symbols of American greatness—the towers of the World Trade Center, the towers of money, of freedom, of power and potential, of national pride—were destroyed with an audience in mind—western audience—and had the same “creative handwriting” as the atrocities now being perpetuated by ISIS.
I don't suppose I'll surprise anyone at all, and won't say anything new, if I say that both Al Qaeda and ISIS are western creations. This is old news. I am just mentioning this as a reminder. And the “creative handwriting” of their latest deeds speaks to the fact that they also share the same goal. No, it's not the governments in Lebanon or Iraq or Afghanistan. Their goal is the west itself.
If you can't unite your subjects by serving their common interests, you can do it using a common enemy. And if this common enemy doesn't exist—no problem, you can create one with your own hands. You can give it the opportunity to grow up, give it weapons, grant it immunity and release it into the world.
The most important thing in such a creation is that it must be horrible. It must be self-evidently horrible. So horrible that everyone—even the idiots—could understand that this—this thing covered in blood, holding a torn-off human leg in its hand—is the only alternative to having the United States of America in complete control of everything. That burning people alive, mass executions, beheadings, sanctioned rapes—this is the only alternative to gay marriage, feminism, total surveillance of everyone and extraterritorial American “justice.”
The western establishment is nurturing ISIS like an attack dog, feeding it, training it to like human blood, in order to then release it and offer people the freedom of choice: you can die in its teeth, or you can hide behind a gate, the keys to which are in the hands of global capitalism. And they will charge you for the entry—but not in money. That is, not just in money. The payment they require is your freedom—your right to choose for yourself what is good and what is evil. Anyone who wants to enter has to relinquish this right, and give it to the owner. Because anyone who enters through the gate automatically acquires an owner.
The history of the 1930s is repeating itself, except that now those who want to reform the world order are not facing the countermodern phenomenon of Nazism, but the countermodern (or post-modern) phenomenon of radical Islam—of an archaic being with a torch, a knife and a videocamera. His role—to herd all of humanity into a single project, to rid the world of alternatives, by replacing with itself or by destroying everything that could possible offer the world alternative paths of development.
In this case, the means tell us everything there is to know about the goal.
The goal is power through any means—power to set entry fees for all those who want to be safe behind the locked gate. Needless to say, there will be no possibility of exit. It's not in the plans.
Roman Nosikov, lawyer, publicist, author of journal “Однако”.
August 28, 2015
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