MindCrack

Act 1.

When we love or kill, we look at our own selves, at the tragic action of creation, at the juxtaposition of our exhausted superego and our lowest and more primitive longings. This ephemeral truly creative action is re-enacted by art and architecture as a badly dubbed copy filled with Apolline material pretensions that “mirror” the suffering of the action… that is seen either as impure, sick, evil, uncanny, sadist and unchristian [KILL]; or as good, pure, virginal, beautiful and Christian [LOVE]. A human creation can’t be reduced to politically and socially correct beauty because it is the children of an impulse, of an extreme, of proto-civil actions that go far beyond ethics… this tragic act can only be captured in those great rhetorical-lyrical scenes in which the passion and dialectic of the protagonist swelled into a broad and mighty torrent; in the end it is only graspable in the act of failure, and the acceptance of that failure, not as an moral torment, but as a beautiful enlightenment; not as a lucrative product but as a painful reward.

Act 2.

We do not only rejoice on the death of the morally pure individual, we as a mere audience that is chastise from the utter pleasure of heroic existence, cannibalize the few remains of this, once beautiful and eternal, body; now deformed to sublimation by rapid ingestion. This heroic existence, of the being that surpasses all human temptations by embodying them all, is the ultimate action of creation. Thus, the hero only exists within the realm of tragedy, within the sphere of suffering and slow death; within the body of self-created fictions. We have to fictionalize the extremes of our existence in order to materialize them; truth and falsity are irrelevant, because they are mere earthly concepts that are immovable due to of their inherently paradoxical attitudes.

What makes the being surpass himself, is the creation and consequent destruction of an element that overcomes him completely, an entity that goes far beyond of his mediocre human comprehension; the creation of what he yearns for and what he will so eagerly desire that at the end he will, not only kill for, but murder.

The need for a clear and tangible appreciation of the heroic being, forces the individual towards a crime of passion. He commits murder in order to finally face what he thought was unfaceable, in order to tame the mystical beauty of the hero he once romantically created, in order to become a civilized animal on steroids that knows without knowing and feels without feeling. He sees himself reflected on the Tragic Hero because the later is a re-enactment of the death by strangling of the unjudged mystical existence he, once belonged to; his punishment is to watch his cold-blooded crime on repeat without acknowledging the action as death, but as creation.