Words

When an artist becomes immersed in his own art, he is lost to all.
His art now reflects his inner workings, and has no value outside of this, and how some may relate to it, and wish to go with him, into his psychosis.

Severance of the elements and the loss of continutity.

Claude Dubufe. Paradise Lost.

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Satyr wrote:

The value of an artist, and of his art, is determined by the audience who share in his motives, and wish to participate in his creations.

The motives are shared when the internal organ hierarchies are common, because what divergence is inherited genetically has been cultivated, and/or made to atrophy, by external effects, producing a uniformity, which is either actual (due to generations of such cultivation), or pretended (the product of self-repression and hypocrisy).
This produces a uniformity of taste, usually directed downwards, towards a shared lowest-common-denominator, whereas an upward movement would be demanding, and only appreciated by the few, and not the many.

Art and the Neurotic culture.

Menninghaus wrote:

"Art as suspension of disgust and guiltless "enjoyment" of the rejected.

Freud sees, in addition, a special precondition for the reception of the modern “psychopathological” literature: “here, the precondition for enjoyment is that the spectator should himself be a neurotic.” For only a neurotic—one who, by virtue of his own repressions, is “unstable” and “on the brink of failing”—is predisposed for the task of “deriving pleasure” from the represented conflict “between a conscious and a repressed source of suffering.” In neuroticizing “cultures,” this special precondition for the “enjoyment” of repudiated impulses and sources of suffering is met not only by individuals but “possibly,” Freud ventures to speculate, by “the whole of mankind.” The humanistic ideologem, according to which art advances the cause of “all human beings” and of “all humanity,” is thus established on a new basis: that of neuroticizing disgust and its suspension and transformation into a pleasure, free of guilt and shame." [Disgust]

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Satyr wrote:

The popular artist, the f-Artist, is such a downward looking creator, seeking mass approval, and appreciation, and his f-Art will reflect this motive.

The stench will indicate a reduction of existence to a pile of non-descript manure, faecal material (money), full of untapped possibilities, directing the gaze towards the anal cavity.  

Menninghaus wrote:

"This investment of feces with the meaning of castration raises Freud’s theory of excrement to new heights of structural abstraction:

Freud wrote:

"The handing over of feces for the sake of (out of love for) another person becomes a prototype of castration; it is the first occasion on which an individual gives up a piece of his own body in order to gain the favor of someone he loves."

Feces accordingly remain—even after their smell has become subject to “rejection” out of “disgust”—the secret “prototype” of our communicative acts (“gift”)...

Freud wrote:

"It fits in completely with the theory of internal stinking. Above all, money itself. I believe this proceeds via the word “dirty” for “miserly.” In the same way, everything related to birth, miscarriage, [menstrual] period goes back to the toilet via the word Abort [toilet] (Abortus [abortion]). This is really wild [toll], but it is entirely analogous to the process by which words take on a transferred meaning as soon as new concepts requiring a designation appear."

[Disgust]

To begin cleansing the word from all its socioeconomic memetic baggage, returning it to its genetic roots, we must take each word, on its own, and connect it to the phenomenon.
So, we take the word, referring, symbolizing an abstraction, a noumenon, and we attach it to a phenomenon, the apparent.

This is the first task, our primary work, like the job of clearing a field, a space, before we begin digging to place there the foundations of a house.

The second step is to dig into the earth, finding each word's source, its primary, original utility.
This would be the laying of the foundations where the deeper they go the more sturdy the house we build upon it. not only deeper but symmetrical, geometrically harmonious, beautiful, seasonally pleasing...ordered.

The third step is to place the frame of the house in relation in harmony with the foundation we've built.
The frame will guide our subsequent building, of laying the brickwork, the placement of the doors and windows.
This is where artistry enters the picture. Above functionality, the pragmatism of the earth, of environment imposing upon our discipline, our construction, a limitation, implying a shape, we proceed to artistry.
Using words as the art they are - as symbols, allusions, insinuating space/time with out application.
Talented architecture insinuates spaces and time, without being them. It alludes to something more than what it is - it is metaphor.

The fourth step is ornamentation, the filling in of detail that accentuates shapes and makes them appealing, pleasant to live in.
This is a more precise, subtle, usage of words to expose details, to make ideas palatable - to use words adding artistry for the sake of it.

If we abide by these four steps we slowly disarm the Nihilists of their only weapon, their only toy.
We build a structure that keeps what we value inside and keeps what we do not want to be a part of our home outside - it keeps our brain clean, focused, lucid.
Disarming Nihilists of their words renders them innocuous, infantile, a joke, and exposes their ideals as what they are, self-hating, nature despising, world denouncing lies.

The danger of using words detached from reality is that you fall into an abstracted world that only applies within human minds, and is meaningless outside of them - a political, psychological effect, exploiting human weakness and manipulating human emotions.
The utility of which remains within human environments and inapplicable outside of them.

Again, the power of words when they do not refer to abstractions that then connect the noumenon with the phenomenon, is psychological.
Their magic a human effect, possible among those who share it - a political social tool, with no meaning when dealing with a non-human world that cannot experience the power of the magic because it cannot feel the impact of language, as an internalized force affecting mind from the inside out - a self-referential effect.
Of course humans are natural agencies and affecting them will, in turn, make it possible to direct them to affect world directly, but this makes words a method of coercion, manipulation, seduction, losing their "power" outside of human skulls speaking the same language.
Much of philosophy is about teaching the mind the language which will then affect it.

Proper application of words is a form of asceticism.
The re-connection of noumena, to phenomena, using language, is a form of self-control, directed by an external necessity.

Free-association is a form of decadence, it is hedonism.
Using words only to imply, and not to expose is hypocrisy.
The metaphor is supposed to clarify the connection of noumenon to phenomenon, not make it vague and mystical.
World is already mystical in the sense that it is disordering an ordering mind is attempting to describe and understand; it in counter-intuitive to an intuition based on binary thinking.
The metaphor, if it does not bridge, by trying to meet fluidity on its level and bring it up to the light of consciousness, acts as the opposite, as something that buries the real in more obfuscation, more clouded ambiguity, more emotion and intuitive sensation.  

This reminds me of an artist who disciplines himself to reality, and attempts to represent it, as accurately as possible, using a medium.
Language is such a medium.
The decadent, hippie artist will use the medium not to represent reality but to express his internal psychology, his reaction to reality, and this is so for the esoteric "philosopher" who pulls words out of himself expressing his subjective response to a world that does not yield to his desires.

The artist uses techniques that warp form in order to represent what cannot be represent using static artistic mediums, and not to imply an alternate reality representing his personal turmoil and internal inadequacies before world.
In art there is room for an esoteric artist sharing his internal world for others to witness and relate to, not so for a philosopher, who is dedicated to reality and clarity.
A psychologist, perhaps, would be the philosophical equivalent to an esoteric artist, expressing himself, and not reality, in his art.
A psychologist who by externalizing the esoteric makes it exoteric, and perceptible to all as another phenomenon.  

Freed from an external objective world that would limit his artistry, he prefers to pull his art from internal sources, expressing vague cellular memories, that can only be represented in strange forms, dream-like construct, monstrosities reflecting his genetic past and how it responded to his awakening to a world that did not change to accommodate his needs.

A fighter fearing contact with an alien will, combat with an opponent dedicated to doing him harm, will choose, instead, to limit himself to displays of his martial art, striking air, inanimate objects, displaying his athleticism, his training and technique. He wants to express his theoretical prowess for others to witness and not test - to impress.
He does not engage bodies but minds, seeding intimidation, seeking respect, and admiration, he may not be able to repeat in actual combat where he may find shame.

To create the perfect slave use words to mystify not clarify, toys for children to find comfort in, not tools to engage world with.
Convert the word to an esoteric mystery the minds of small boys must depend upon a master to decipher for them, and he, a master only of conceit and deceit, will manipulate their nature, calling it esoteric, as they hang from his lips for a drop of meaning.

The cosmos is mysterious, and chaotic, no need to add to it with verbal obfuscation and more confusion, unless the motive is not to clarify and order what confront man, but to exploit the weak, and manipulate the feeble, starting with one's own soul - selling lies demands the telling of lies to self.

The way such minds throw about the title "Nietzschean" shows us how they have bee manipulated to convert the idol breaker to an idol, and how his words are not like biblical scripture, full of secret meanings, only the initiated, the chosen few, have access to.
It is how dependence manifests in real-time: a man turned to a god, and boys hanging from his words, as if the world described was not around them but was inside of him, somewhere in the master's soul, and they loyal monks, servants, women, eager to be his preferred concubines, then one he shares his power with.

Mystification of language, by rearing it away from its phenomenal connections, their utility, is how you convert free minds, who can use words to engage world on their own, into minions, men-children playing in some fantasy role-playing games, in a fantasy world where they are noble warriors and kings and high priests, as a way of coping what they really are in real life.

Words are ambiguous to begin with, because they are static symbols referring to dynamic processes, but the desire to mystify them further, to retain them as some symbol each mind can use according to their personal whims, their esoteric needs, is a way of producing codependent slaves.
Lack of creativity, of imagination, will turn these minds into followers of the one with the creative genius to manipulate words to flatter, to seduce, to make them feel good, important, powerful, and since duckling follow the first organism they see after they hatch, these minds will break free from their misery and find in this shaman a lead, a parent, a god, who creates for them what they cannot in themselves find.

Look at hoe dependent upon priest Christians are - every biblical line full of secret mysterious meanings, only he can decipher, can explain.
Look at what Nietzsche has become for these Modern lost boys, after Nihilism has proceeded to eradicate families, and discredit fathers. - a Jesus figure for the secular Nihilist dreaming of being pagan, when all he is is another version of then same virus.
Like Judaism morphed when it came niot cotnaxct with Hellenism, we witness in this trend a new morphing - one post-Nietzsche, who reintroduced a forgotten world-view, pre-Socratic, Heralcitean world-view in a world dominated by Parmenides and the outcrops of Judaeo-Christian nihilism.
A new morphing, attempting to assimilate, this time, Nietzsche's diagnosis, and convert it, like Hellenism was converted to Christianity after contact with the Nihilistic dis-ease of Judaism, into another version of the same illness.

The death cults of Osiris combining with the one god of Zoroastrianism, merging within a group of tribes that were ripped from earth, and floated, across the deserts as wanderers, fermented in this Nihilistic overturning, inversion that still plagues European man today.

With no grounding, no hearth, the wanderers want to convert all into lost souls, vulnerable to Messiahs and charlatans.
Watch them exploit the youth; the naivete of boys, and girls, with no confidence, no solidity, no self-esteem.
instead of training them to rely on their own faculties to use words to find their own path, in a world that appears and does not conceal, they direct them towards a magical realm of mysticism, where they place themselves, and others, as high-priests, wanting to reproduce the christian phenomenon, and from cult become a world-changing religion.
A world of innuendo, of hidden secrets, of magical powers only they can direct them to.

A power of exploiting human stupidity, and cowardice.
Is this anything new?

All symbols imply something.
They are metaphors.

Words written down as symbols, formed pattern, or verbalized as sonic patterns, allude to an abstraction which is always the product of simplified/generalized sensual stimuli, translated/interpret into a form the nervous system and transmit, gather, and if a brain is present, to process.
This abstraction is useful to the survival of the organsim.

First thing it does is that it organizes a complex, and chaotic, world - it orders it, in a way the organism can make sense of.
Second thing it does is it directs, by projecting the patterns it perceives in the stimuli, as objectives.
A primitive projection would be a food source.
A more sophisticated projection would be an idea(l).
The projection is the guide, the abstraction used by the organism to orient and direct itself in the Flux.

This process is already a hit or miss affair, resulting in benefit or cost.
To add to this a mystification, alluding to a world "underneath", or "above", or "beyond" can only compound confusion.

Metaphors are meant to clarify a phenomenon, by approaching it from a different, yet familiar, direction, making connections, constructing a more spherical understanding of it.
This is most useful when dealing with noetic abstractions, ideas with no external references, like the word "freedom", "god" or words that refer to processes not immediately perceptible, like the word "consciousness".
In this case the metaphor acts as a mooring, by attaching the concept to a real perceptible, familiar phenomenon.
When the metaphor is retained as something actual, yet hidden, or is used to confuse, to cloud, rather than bring to light, then the motive should be sought in the one using it.

Christian dogma is full of such convoluted metaphors.
Their idea(l), their god, is some triadastic mystifying abstraction, one must surrender to, have faith in, without understanding. His mysteriousness is part of his appeal.
The Oracle of Delphi used such methods of ambiguity to speak and say nothing, leaving the interpretation for the listener to find in himself.
It's a classic method of con-artistry...you do not place the lie in the other, you discover it and cultivate it, and then you make yourself the authority, or the teacher, as shamans did when they kept their lore from the people they healed, relying on the placebo effect to fill in the holes in their understanding of nature.
Shamans status dependent on cultivating an air of mysteriousness, of secret recipes and knowledge he did not give away, lest he lose his power over them.

Why cultivate mysticism in a cosmos already mysterious?
Why cultivate change when all changes no matter what?

It is ordering, clarification, that is the revolutionary act, it is conservation that is progressive.
What does one conserve but what is being slowly eroded, and lost?
What is being conserved if not the past one decides is worth preserving?

No need to mystify existence it IS mystifying.
To then use symbols, rituals, some chants to pretend you are clarifying when you are deepening the mystery in the minds of those who find in these methods something comforting, is to desire to make of them your followers.
Inverting the symbol, the word to the literal, so as to maintain the act as too mysterious to clarify, is how Nihilistic inversion finds converts.

If we accept that words can be used in whatever way is pleasing to the mind, then what value do words have, other than as self-deluding, devices, self-hypnotizing magic, helping the mind cope with a world that threatens it?
With no external mooring to limit its utility, to give it a utility, it acts as a psychological device, exploiting human anxieties, manipulating human weaknesses.
They can be used to trigger positive emotions, in the other, self-numbing mechanism that want to preserve the organism, by keeping it away from what challenges its survival.

This is where Religions flourish: in the minds of the coward, the sick, the weak, the simple.
This is their only utility, having no other external application.
Without converts, followers, the ideals, the abstractions held as dear, and valuable, vanish, as if they never were, because they never were more than inversions, ambiguous sensations, emotional neurological processes.

Paganism is the reverse of this.
Its symbols brought the mysterious down to earth, as it did its gods.
It does not confuse the symbol, the metaphor, the representational art, for the actual phenomenon.

This is why it produced the Hellenic miracle, where men were freed from superstition and authorities, resulting in city-states that could never unite, unless they were threatened by an external power.
By demystifying the world they liberated the human spirit....to make meaning, not find it, and when making it not to do so like a child, but to root it in the earth, in the land.

Imagine a world where words lose substance by being ripped away from their connections to noumena referring to phenomena.

Words like male, like female, like race, like human...words like love, respect, consciousness, self, value.

Imagine a world where these words are mystified, made into pure abstractions, so that they can mean anything, to anybody, at any time.
Freedom, right?

Imagine a world where words are only limited by a dictionary, a text, and not the world.
Where a book is the only restriction to the usage of a word, and that only because of the need to communicate and to infect, and exploit, and manipulate.
Imagine a world where new languages are used, technical jargon, to appear deeper than they are, promoting exclusion, founded no words not deeds, and raising the expert to the status of guru.

No need to imagine, you are in it.

Simulacrum of Simulations.
The symbol is the code of inclusion/exclusion, making actions, appearances, irrelevant.
If you speak the right code, adhere to the proper definitions, surrender to the same mystique then nothing pragmatic, natural, such as appearance, past/nature, need stand in your way into the chosen, the in-group.

This is gene to meme inverted to meme to gene.
Not the gene first, the action, but first the word, the meme.

Goux, Jean-Joseph wrote:

Gide's The Counterfeiters (as will by now have become clear) seems to be a particularly fertile field for the application and verification of this complex set of homologies.
Gide's novel provides the fiction of this theoretical numismatics. Its radical subject is the historical crisis of the general equivalent form that is, the crisis of the dominant value-form of the bourgeois world.

The theoretical interest that the novel holds for the present purposes of analysis is evident even if, on other counts, this work of fiction is not entirely satisfying as to the aesthetic doctrine that it promulgates.
By building the novel, starting with its very title, on the monetary metaphor, and by subordinating to this metaphor all questions of "values" and of "meaning" (values now revealed to be false), Gide explores the homology that exists among all the registers of the general equivalent. Above all, it is the homology between money and language as befits a reflexive literary fiction that constitutes the metaphor's most substantial core.
I have already emphasized this homologous pair, and I shall return to it. But these are not the only registers of the general equivalent that Gide invokes. By tracing certain other thematic threads woven throughout the warp and woof of the text, I shall now demonstrate that the other registers analyzed in "Numismatics" are not absent, and that they are caught up in the same critical junction as language and money. For if the truth of language is contested along with the truth of gold, the truth of the father is also challenged.
Counterfeiting is also, and emphatically even first of all the demonetization of the value of paternity.

Fathers are not absent from Gide's novel; quite the contrary, they are all over the place. But they have lost their legitimacy. The signs of paternity have been divorced from the being of the father. The signifiers produced by fathers no longer refer to a Truth that, going beyond their appearance as signs, constitutes their transcendental guarantee. Such is Gide's suspicion. It is not difficult to see this suspicion as corresponding closely to a certain crisis of linguistic and monetary legitimacy.

Language, money, father: simultaneously metaphorizing each other in reciprocal homological interplay, their fundamental crisis the crisis of a historical form of value is exposed. Monetary falseness confers a title upon the crisis of the dominant value-form, a crisis that affects language and the father as well.

---The Coiners of Language

Words, freed from their role as connector between subjective and objective, or noumenon and phenomenon, is analogous to money disconnected from a material reference standard of gold/silver.
Counterfeiters take over, fabricating value out of thin air, suing symbols words money, to exploit and manipulate, with nothing to limit their usury, their charlatanism, their banker's psychology.
Swaps noetic constructs with no reference outside human brains, like the words some "philosophers" of decline use, disconnecting them form any phenomenal reference, so as to manipulate, cut them up into noetic pieces, and sell them to ignoramuses on trust, becoming "rich" (fame and fortune) on the gullibility and stupidity of others.

Goux, Jean-Joseph wrote:

Precious metal that becomes money through an evolution in the forms of exchange comes to fulfill three quite distinct functions:
(1) that of the measure of values, (2) that of the means of exchange, and (3) that of the instrument of payment and of hoarding or reserve. This distinction, which appears to me to be a crucial one, has never been fully applied to the logic of exchange with all of its ramifications for parallel noneconomic forms of the general equivalent for example, language and paternity. It is this distinction that underlies the differences among archetype, token, and treasury, and its relevance far exceeds the realm of economic exchange.

---The Coiners of Language

Precious metals mined from the bowels of the earth, product of cosmic processes, represent earth's finite wealth - a connection to the soil, the ground, the phenomenon.
Nihilistic dis-ease, liberates representation form this grounding, to make it a toy, a ploy, exceeding its representation. one accepts it no trust, and confidence exploiters become the new heroes.
They trick the world and themselves, out of its reality - they transcend the earth's bounty, manufacturing symbolic value with no meaning, with no substantial reference point.
The current crisis of identity and decline of western man linked with language games and the recent economic collapse.
Wall Street was selling idea(l)s with no intrinsic value, no references, outside the minds they seduced and exploited, manipulating greed, vanity, fear.
with no limits, no matter/energy connections, there was no limit to wealth - it was pure noumenon, an abstraction all could partake in.

Abandoning the gold standard is the same thing as abandoning the noumenon/phenomenon relationship.
Words, as neurological representations, linking mind and body, now become pure mind, with no body - no physical restrictions, identifiers.
Words, like money, can be manipulated, now, fabricated, renamed, and sold on the market, as if it were more than symbol, metaphor - a token of trust, no different than a Christian's faith.   Precious metals mined from the bowels of the earth, product of cosmic processes, represent earth's finite wealth – a connection to the soil, the ground, the phenomenon.
Nihilistic dis-ease, liberates representation from this grounding, to make it a toy, a ploy, exceeding its representation.
One accepts it on trust, and confidence exploiters become the new heroes – grifters, gamblers, wheelers & dealers.
They trick the world and themselves, out of its reality – they transcend the earth's bounty, manufacturing symbolic value with no meaning, with no substantial reference point.
The current crisis of identity and decline of western man linked with language games and the recent economic collapse.
Wall Street was selling idea(l)s with no intrinsic value, no references, outside the minds they seduced and exploited, manipulating greed, vanity, fear.
With no limits, no matter/energy connections, there was no limit to wealth – it was pure noumenon, an abstraction all could partake in.

Abandoning the gold standard is the same thing as abandoning the noumenon/phenomenon relationship.
Words, as neurological representations, linking mind and body, now become pure mind, with no body – no physical restrictions, identifiers.

Words, like money, can be manipulated, now, fabricated, renamed, and sold on the market, as if it were more than symbol, metaphor – a token of trust, no different than a Christian's faith.

Goux, Jean-Joseph wrote:

In the inability of the father's corpse to signal from the world beyond to his son can be seen the failure of the very function of signifying. For the sign, of course, has both body and soul: a perceptible signifier and an intelligible signified. Only when the signifying body refers to a signified soul is there a sign (and, in more general terms, representation or expression). Meaning, then, is the immortal soul of the body of signs, and it remains alive, transcendent, even when the body is dead. When the motionless mummy of the signifier no longer harbors any soul or signified, then something has gone wrong with the symbolic function particularly when the body of the sign is the body of the father. For what the corpse or tomb of the father ought to signify is the transcendence of the signified, the eternity of the spirit beyond the perishable matter of the body. In its most profound signification, the spirit is none other than the soul of the dead father a soul that can come back to haunt the living like a "ghost," but that can also confer ultimate spiritual meaning, as the transcendent site of ancestral lineage and as unwritten law for the future of its sons.

.....This is the crisis of counterfeiting: language, money, and father have all ceased to be the nucleus of a guarantee of meaning and values. There is no more transcendental signified, no more eternal standard. As a result, the counterfeiting process takes over in linguistic, monetary, and intersubjective circulation, and every register of the general equivalent structure.

---The Coiners of Language

Counterfeiters, the new priestly class; shamans of shame.
They replicate the original, altering it slightly, because a perfect copy always fails, turning themselves into the source of value, of wealth, spreading it as if it means nothing, because it does coming from him (trust).
The counterfeit nomisma is worthless.
It has no relevance outside the relationships and the exchanges these necessitate.
The counterfeiter stamps an image of some authority, some impressive icon, to legitimize the copy, but this is only possible if what ti is stamped upon is worthless, making the stamp, and what it represents, its only value.
Gold cannot be counterfeited, money can, and when disconnected form its gold/silver restrictions it can be printed, recycled, at will, producing artificial wealth, with no resources backing it up.  

Goux, Jean-Joseph wrote:

 In this threefold division of functions of the equivalent, we seem to have come upon a very generalized structure that, while manifested in economic exchange, far exceeds this realm and affects communication in general. Indeed, it is in terms of such necessary structures of "communication" that economic exchange itself must be understood.

---The Coiners of Language

In this [You must be registered and logged in to see this link.] where words are weapons of mass destruction, and worm-tongues spread nihilistic dis-ease, through the mist vulnerable, weakest part of the organism, of a culture made up of organisms, my only remedy, pharmakon, is a toxic, for most raised in a world of sheltering, re-connection of noumenon, using language/symbols, to phenomena, or to return the subjective to its natural relationship with objective; a mind/body unification brought about with an oftentimes traumatic re-attachment of words with actions: [You must be registered and logged in to see this link.].
this is my contribution to the war.
I urge all to remain true to this task, if not by suing my distinctions then to make their own, trusting that mine are sufficient and in a shared world will be adopted, if not with some resistance due to ego.

Using words like morality, love, sex, humanity, respect and so on, without caring if they refer to something observable, something real that can be experienced, witnessed, observed may feel liberating and comforting, but it is what these ill minds do to escape the inevitability of cosmos - preferring to live in ignorant bliss, safe within their manmade "realities", their socioeconomic, political, relationships.
Being honest with one's self, first an foremost, is not easy...if it Know Thyself would be an empty challenge.

There is no need to retain the mystery of existence.
Flux, is a falling away of world, to borrow that metaphor, or to use Heidegger's imagery, we are condemned to look back, and live forward, trying to reduce the distance suing art - and language is an art-for; it is all symbolic, metaphorical, insinuating, representative, approximating.
Nihilists exploit this fact, wanting to increase distances, inverting the toward, the approach of mind to body so that the human find harmony.
By detaching words as the neurological bridge between mind and body, they cast the mind adrift, convincing it that the sense of liberation is a good thing, because the corporeal has purchased its well-being, guaranteed its safe-keeping, with work, servitude.

With the mysteriousness of the world a given, words can only attain a higher, not absolute, understanding of it, for whatever period of time the patterns words represent are ongoing.

Looking back, has to use what is has seen, has experienced, to formulate wilful reactions it can train itself to use in preparation for future. 
Natural selection chooses (re)actions to stimuli that have proven sufficient.
The mind takes over, wanting to make the trial and error process more efficient, by observing, empathizing, imagining, finding patterns that hold true for longer periods of time than the immediacy of a stimulation triggering programmed genetic responses.  
But cosmos is fluctuating, and the process is unending, continuous.

Abandonment of word to psychological fancies, leads to the types of art that depict esoteric (re)actions to world, without ever daring to depict world directly – explaining the (re)action itself.
Art abandoned to psychology, tends to raise psychosis on a pedestal begging for centre stage - the controversial, the mystical, the vulgar, the shocking takes over as "good art".
Schizophrenic imagery, of internal turmoil, fantastic, surreal sensationalism, begging for attention: man's condition spilling out like a cry for help from invisible masters, wanting all to witness their pain, their desperation; noise presented as music, inner voices externalized, comforting, repeating, in rhythm, self-aggrandizing compensating prayers, hoping they will push away the real.
Survival ensured, identity lost, what is left for language to do but offer a shell for an individual to inflate, and cover-up?
Every internal need, producing genetically based desires, or socially based wants, projected outwards – the esoteric/exoteric inverted; man with his guts hanging out, his skin folded up and absorbed into a soft spinal column, with bones exposed to the winds; nervous system left bare... every stimulation multiplied, inflated, agitating the individual disproportionately to what is confronting him.
The individual can claim to be whatever he dreams of being, with no external validation necessary – words spoken, repeated, convincing, coercing.
 
With no limits, no skin of containment, no boundaries, all becomes a free-for-all.
Defecation a free-form of expression, flatulence a new musical style, every psychosis legitimized and tolerated.
Nihilists flourish.
With nothing to limit the usage of words, except text, a book, a dictionary of unifying anti-Babel uniformity, words are a means of seducing, manipulating using emotions, most deny importance to, covering their tracks.

Goux, Jean-Joseph wrote:

This "degradation" could not find any better expression than Gide's invention, which makes crystal the substance of a circulating currency. The eternal crystal of a thought that is faithful to the Archetype of things enters the language market, like ordinary money in everyday exchange. It would seem that here, in a nutshell, is a major evolution in Western thought.
According to an aphorism of Heidegger's, Being is degraded to value. Let us say, in other words, that archetypal meaning "degenerates" into conceptual meaning; in the movement of substitutions and exchange, logos becomes logic, the "money of the mind."

Archetypal value descends into the market, participates in vulgar transactions, and thus, faded and worn through use, loses its sacred numen. The standard is no longer what measures, from its transcendent site, the meaning and value of signs and things that are compared and exchanged; rather, it enters into trade itself. It moves from the sacred transcendental function of Measure (ideality) to the profane function in which it can gradually be replaced by simple signs of itself (pure symbolicity). As a result, inexorably, the "tokenization" of the general equivalent stems from the very logic of intensified circulation, through the play of successive substitutions, with infinite displacements and delays.

---The Coiner of Language

Plato's Ideal, merged with Jewish Deity, that cannot be depicted, loses its lustre in the mouths of the commoners – in the marketplace; in their hands the crystal is covered in their grime, their sweat, their fleshy snake-oils.
Socrates, expressing Plato’s concerns, returns to find his own crystalline method converted to Tyranny in the marketplace of exchange, broken into cutting glass in the minds of the hungry masses - the talent of blowing hot air, spirit, into glass, shaping it into art-forms that would impress, had taken over.
Modern Nihilists are putting a shine back on that translucent crystal – recycling its brilliance, polishing it clean, until it looks new, as if it were new, wanting to return it into circulation.

Goux, Jean-Joseph wrote:

The history of value in the West is the inexorable shift from Archetypes to tokens, a shift that some, in language of a very different extraction from my own, would call a degradation, or even nihilism.
The "history of metaphysics" is the monetary history of the economy, the evolution of what used to be a divine, numinous standard, situated above exchange the inestimable source of what is valued into another value on the exchange mart.

In the token system, the advanced stage of the reign of general equivalence, the dimension of the archetypal measure soon becomes the most neglected dimension of all, the one most excluded by the very logic of signifying metabolisms. The numen has become idea, idea has become concept, and the concept itself is no longer signification but merely a pure value in the "arbitrary and differential" system of the play of signifiers.

Gide's fiction appears at a moment in the history of exchanges when the universal equivalent, shaken in its capacity as archetype of the One (the axis aligning Father, Gold, Language, and Phallus), begins to lose credibility in its role as the Representative, as a result of its progressive demotion from this
function to that of a token, a mere signifying element whose convertibility is suspended, hypothetical. Fiction, while trying to sustain a dimension of ideality in language (through reference to the archetype) imperceptibly moves this ideality toward a pure intellectual construction. The poem, adequate to the Idea, becomes the more prosaic novel of ideas. Pure crystal, which first (in the work of the young Gide) signified fidelity to the archetype, becomes in The Counterfeiters rather the crystal of understanding of which Hegel speaks - or even the "artificially composed" core - that is the invisible substructure of every work of fiction, however splendidly gilded and inspired it may be.

In sum, Gide takes the position that the gold coin is no longer credible (its guarantees have crumbled), and that the task at hand is to seek a new ideality in the register of constructive abstraction (the crystal). Here Gide foreshadows the crisis of an era in which structure tries to make up for the central collapse of all standard values. It was to take half a century for this aesthetic, philosophical, and epistemological configuration to realize its full scope.

---The Coiner of Language

The near-absolute echoes, in our present, with myriads of many patterns continuously (inter)acting, fragmenting, breaking apart.
The mind, hungry for satiation, strains to find unity, an all-encompassing singular pattern, a final rule, the fabric – nostalgia for this near-absolute echoing in the human spirit.
With every failed attempt it becomes alienated, disillusioned with its own condition, slowly awakening to its own absence of Being – desperate it projects its interpretations, vague and perfect in their simplified/generalized form, as pure abstraction, and calls himself God.
Noumenon takes over where phenomenon fails and is called "negative".

Goux, Jean-Joseph wrote:

Thus the formal crystal is both the inevitable result of a world that, having put into circulation tokens with no backing, has lost its authenticity, and already an attempt to replace this total devaluation of pure currency (economic and linguistic alike) with a structure capable of resisting erosion by wear and tear, an a priori construction capable of standing up to the non-sense of a representation that has become deceptive. Formalism, structuralism, and abstraction are all effects of the loss of credibility of all representation, and at the same time they are attempts to counter the devaluation and discreditation of profoundly experienced meaning with the eternity and solidity of a geometry of the intellect.
Through its structural a prioris, the crystal of form attempts to regain the site of Ideas, but it can be no more than a rationalistic construction in the cultural milieu where capitalism and Protestantism have established the reign of the iconoclastic concept.

---The Coiner of Language

Welcome to the Desert of the Real - a Dystopic nihilistic world where words have lost all meaning and all has been reduced to platonic idealism, and Abrahamic herd psychology - the inter-subjective world of shared detachments.
The One God of many names, who cannot be represented, the triad, one has to feel as a one-truth, converted into the symbolic vagueness of money.