Saturday, February 28, 2015

Social Murder and Dictatorship of the Fake Narrative

No. 18, 25 February 2015

The public narrative in Poland is simulated. The entire public life is simulated. Only the junta members or those approved by the junta are allowed to participate in the public life. Their job is to perform pre-programmed roles. The texts of the actors of the fake narrative often mirror the language of authentic persons targeted by the junta for forceful elimination from the social life. This is a specific form of identity theft. Social cannibalism. Societies engaging in cannibalism against their competitors or enemies believed that by eating their body parts they will gain desirable characteristics of the eaten. Cannibalism was a privilege and a reward, proof of a high social status.

Junta members think similarly. By engaging in acts of social cannibalism they elevate their social status. We can say that the clone or a double murders the original and then tries to take over the original's role, stealing his or her accomplishments, ideas and the control over the original's narrative.

The genocide initiated in Poland by the Nazis and the Communists goes on. It has been transferred into the social space and the mental space. The aim is to eliminate the targeted person as a social being and an active participant of the social life. This is simply a transition from the physical liquidation stage to the stage of social and mental liquidation.

The social murder is executed with great zeal. The perpetrators do not spare energy and resources. They are guaranteed impunity. Their sadism and psychological cruelty will be rewarded by their comrades.

In contrast to the real social murder, which is meticulously hidden away by the dictatorship of the falseist narrative, the public narrative is filled with simulations of physical death. Much is spoken and written about death that has not occurred, while the real death inflicted in the form of the social and mental murder is purged from the narrative. This is a method of hiding the genocide. The theatrical ritual of death is exercised but is limited to simulated events.