Nefarious orchestration

~my Substack Philosphy (text segundo/two)

Let’s take this text sample:

Learn how regulated industries like yours use WestCX Orchestrate

Remove the word “use” and what is left is something like: “Learn how regulated industries like yours Orchestrate” and so I would like to submit the meaning of “orchestrate” to inquiry (or “interrogate” it?).

Then, it sounds a lot like somebody intends to teach members of the oligarchy to control people in large numbers, ie orchestrate, like an orchestration or manipulation of society. I say things about Economics.

I am an economist. But here, I am not concerned with “regulate” although it’s in there. What I see in the text that I sampled is “use your industry to orchestrate the take-over of the human mind, turning them all into orchestrated clown, zombies, or morons.” Am I being clear enough?

Orchestrating the community is a big negative. For me, it does not bring to mind practices of actual orchestral music so much as it means to arrange ways of getting what you want. A way to “strategize.”

Get the virus into the network; kill the antibodies; capture the planet; use glyphosate; turn people into zombies or whatever.

Why would any nefarious corporation teach us to

Orchestrate

?

I deeply fear those who would orchestrate things so as to have some effect on me — or my loved ones. Those would orchestrate me would also orchestrate my friends or family — anybody! The company above asks: How can someone like you “orchestrate”?

The words above indicate to me a real process that is going on. We have this. It is every day. The human mind is susceptible to influences. They are influencing us. Our brains actually manufacture things to do this. A few puffs of marijuana can make a person go insane and start climbing up palm trees. That’s a joke but this is what is already going on, on a mass level.

The poisoning of the masses has just begun.

They want to take you mind, and orchestrate it. How do I know?

get a demo

WestCX told me so. They openly revealed it (see above).

Your industry can learn to ORCHESTRATE. And then humanity will be enslaved. They (elites) are creating this. It is terrifying; they actually want people to be their mental slaves.

Every cultural artifact, e.g. books to toothpaste, is used for this as an intermediary to get you away from contact with nature. The artificialization process is used by Magazines, of course — they are clearly used for this, as is advertising. Any such processes could decay the human mind. So — this is what they are doing to your mind.

But books are the most trustworthy of all the sources. In my view, books are always best way. This was one person, with some knowledge. And then it also takes enormous care, really. The purpose was to create a unique, original document. The author wants to get at reality in ways no other author or writer has done. And there are not many such authors (even in the best of times).

But today the orchestrators of power (enemies of humanity) have almost completely taken away books. That was to clog up our lines of communication. They have done well if they have destroyed books… intelligent writing is over. What value are the books we see these days? And those who once rang the alarm bells are gone…

---

Appendix:

The End of Intelligent Writing: Literary Politics in America.

^{Kostelanetz, Richard}

First published January 1, 1974

In this book it is argued that “intelligent writing” might come to an end, not because such writing is no longer produced or because it is not being read, but because the channels of communication have become clogged and corrupted.

books by him:

Music of Today
The Theatre of Mixed Means
Master Minds
Visual Language
Accounting
. . .

Beyond Left and Right
Imaged Words and Worded Images
Possibilities of Poetry
Moholy-Nagy

What sort of person was this? It looks to me like a man of the sixties artistic movements, for sure. But also a critic, who had this peculiar formulation:

I have the book! Sometimes those summary descriptions are misleading as to the real content or intent of a book. He was simply saying there is “politics” involved in who gets to be published. It’s spot-on. That is why Kostelanetz was suppressed.

Well, that is my suspicion. Let’s see how this apparent sixties genius figure got handled by history (this is the exact same thing he is writing about isnt it?):

He definitely gets around.

Constructs. Reno: WCPR, 1975. Constructs. New York: RK Editions, 1991.; 7 Volumes Constructs Two. Milwaukee: WI; Membranr, 1978. Conversing with Cage. New York: Limelight Editions, 1988. Crimes of Culture. New York: Autonomedia, 1995. "The End;" Appendix; "Intelligent Writing" Reconsidered. Metuchen: Scarecrow Press, 1979./ "The End;" Essentials; "Intelligent Writing" Epitomized. New York: Assembling Press, 1979. The End of Intelligent Writing: Literary Politics in America. New York: Sheed & Ward, 1974. Entrevista a John Cage. Barcelona: Anagrama, 1970. Epiphanies. Berlin: Literarisches Colloquium Berlin, 1983. Exhaustive Parallel Intervals. New York: Future Press, 1979. Exhaustive Scombination. Port Charlotee: Runaway Spoon Press, 1996. Fields, Turfs, Pitches, Arenas. Kansas City: BKMK Press, 1982. The Fillmore East. New York: Schirmer, 1995. Foreshortenings and other stories. Tuumba Press, 1978. The Grants-Fix to 1981: A Critical Examination of Publically Funded Literary Granting in the United States. New York: RK Editions, 1987. Hoptrangning och Planer. [n.p., n.d.] Human Alternatives. New York: William Morrow, 1971. Illuminations. Woodinville, WA: Laughing Bear, 1977. In the Beginning. Somerville, MA: Abyss, 1971. John Cage (Ex)plain(ed). New York: Schirmer, 1996. March. Mentor: Geerator Press, 1990. Metamorphosis in the Arts. Brooklyn: Assembling, 1980. Minimal Fictions. Santa Maria, CA: Asylum Arts, 1994. Modulations. Brooklyn: Assembling Press, 1975. More Short Fictions. Brooklyn: Assembling Press, 1980. The Music of Today. New York: Time Incorporated, 1967. The New Poetries and Some Old. Carbondale: Southern Illinois University Press, 1991. Numbers 2. Columbus: Luna Bisonte Prods, 1977. The Old Fictions and the New. Jefferson, NC and London: McFarland, 1987. The Old Poetries and the New. Ann Arbor: The University of Michigan Press, 1981. On Innovative Art(ist)s'. Jefferson, NC and London: McFarland, 1992. On Innovative Music(ian)s. New York: Limelight Editions, 1989. On Innovative Performance(s). Jefferson, NC: McFarland, 1994. One Million Words of Book Notes 1958-1993. Troy, NY: Whitson, 1996. One Night Stood. New York: Future Press, 1977. One Night Stood. 4th ed.(Newsprint) New York: Future Press, 1977. Openings and Closings. New York: D'Arc, 1975. Politics in the African-American Novel. Westport: Greenwood Press, 1991. Portraits from Memory. Ann Arbor: Ardis, 1975. Possibilities of Poetry. New York: Dell, 1970. Prose Pieces; Aftertexts. Calexico: Atticus Press, 1987. Published Encomia 1967-1991. New York: RK Editions, 1991. Radio Writings. Union City, NJ: Further State(s) of the Art, 1995. Recyclings.; Undated proof copy. Recyclings: A Literary Autobiography. Volume One, 19

Holy freakin’ shit!

My question is either “Why isn’t he more famous” OR “Why don’t I know more about him, aside from my devotion to the one book”

Still, the basic thesis: “The channels of communication got clogged.” He means culturally, of course.