The situation is a product of the perspectives of individuals but also the extention of individuals in terms of our production and how we have ourselves been produced by the productions and relationships of other people. It is more concerned therefore with people and our relations than the products or concepts. It is when the situation - with its infinite extentions in trimensions of workers perspectives - collapses into a dimensional spectacle that it becomes either true or false.

The key to fighting the spectacle is not to ignore it but to overturn it. The spectacle always has a right way up: male over female, white over black, truth over lies.
                     

The lie is a hybrid product and thus as much more interesting and complicated then truth. The great mistake of modern culture has been that in its idealism it has undervaluated the cultural significance of the lie and worn itself out in an eternal hunt for truth instead of investigation what a lie is. Truth is just a random taken one of the multiple layers of lie.

 
It came to mind after reading Stewart Home‘s reporton his experiences after attending the launch of the first English translation of Michele Bernstein’s 1961 novel The Night (Book Works 2013). It‘s a fun that everybody who are involved in this kind of events has its own model of truth.


It would never happen the heroisation without the mechanism of subversion of some particular lies into it‘s opposities. The mechanism of „serious culture“ (including the avant-garde) is very much about this symbolism. The natural order of entropy brings the processes backwards to a balance.

 

Another case: for decades, Joseph Beuys has been exalted as a heroic icon of postwar avant-garde German art. But a new biography accuses him of having been a serial liar who never completely emancipated himself from the views of Nazism and a bizarre cult.

 

Hans Peter Riegel has written a new biography of Beuys  that sets out to uncover the man behind the myth. In Riegel's view, Beuys was neither a deranged artist nor an innocent genius, but rather a fairly reactionary and dangerous figure.

 

Riegel contends that Beuys was a serial liar, fibbing about everything from his high school degree to the role he played as a soldier in World War II. He says that, for Beuys, a personal life story was something that could be shaped retroactively, like a malleable social sculpture.

 

Beuys was one of the first members of Germany's environmentalist Green Party, and he spoke a great deal about democracy. Ultimately, however, the artist strove for a totalitarian society, at least according to Riegel, who maintains that here again Beuys was following in the footsteps of Rudolf Steiner, the founder of anthroposophy, a cult that espoused peculiar racial theories. Riegel, the biographer, also contends that Beuys surrounded himself with former and long-time Nazis, who were his artistic patrons and his political comrades-in-arms.

 

Riegel's book contends that Beuys never entirely emancipated himself from the prevailing National Socialistic views of his youth, and even less so from Steiner's older cult surrounding Nordic-Germanic mythology and racial theory.

 

When Beuys said once to Metzger "Jedermann ist ein Künstler" he replied: “Himmler auch?“

 

WE DEMAND NO FREEDOM OF SPEECH FOR THE GOD DAMNED LIARS!

WE DEMAND LIE AS IT IS IN THE VERY MOMENT IT APPEARS!

WE DEMAND FREEDOM TO LIE TO ALL SPEAKERS!