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Have you rejected Judah completely? Do you despise Zion? Why have you afflicted us so that we cannot be healed? We hoped for peace but no good has come, for a time of healing but there is only terror.

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O Lord, we acknowledge our wickedness and the guilt of our fathers; we have indeed sinned against you. For the sake of your name do not despise us; do not dishonor your glorious throne. Remember your covenant with us and do not break it. Do any of the worthless idols of the nations bring rain? Do the skies themselves send down showers?

No, it is you, O Lord our God. Therefore our hope is in you, for you are the one who does all this. The LORD said: Surely I have intervened in your life for good, surely I have imposed enemies on you in a time of trouble and in a time of distress.

Can iron and bronze break iron from the north? Your wealth and your treasures I will give as plunder, without price, for all your sins, throughout all your territory. I will make you serve your enemies in a land that you do not know, for in my anger a fire is sited that shall burn forever. It seems like God is being pretty clear that God is done with Judah. No more chances to do right, no more chances to repent, no more mercy.

God is done. That is, until we get to the New Testament passage and there is God, in the human form of Yeshua, loving again and healing away:. That evening they brought to him many who were possessed with demons; and he cast out the spirits with a word, and cured all who were sick.

Why would the Revised Common Lectionary have purposefully paired these seemingly disparate passages together today? Am I missing something here, or am I just too dense to see the connection?

These passages are so disparate that there has to be a reason why they are paired like this. Unfortunately, most preachers and pastors take both of these passages at face value and teach a lesson that presents God basically as the bi-polar abusive father. You know, the type: From fire and brimstone to saccharine-sweet.

Yep, we all know the type. What does that say about the basic psychology of the average Christian? What a great guy that Jesus is. This is insanity. I think it sounds crazy as hell. Literally, I think this whole thing: Lo and Behold! What do we find when we examine Jeremiah 15 more closely? We find that many English bible translations are, for lack of a better word, lying to us. I will tell your enemies to take you as captives to a foreign land. For my anger blazes like a fire that will burn forever.

My anger is a fire that cannot be put out, so I will make you slaves of your enemies in a foreign land. Jeremiah Anybody notice anything missing, say a particularly contradictory word when read in conjunction with Matthew 8: Why add a concept that eludes to such unending violence and generates so much fear in the listener? I can think of only one reason:.

When you take the Word of God, which is filled with such hope, love, and mercy, and you cunningly add such corrosive and negative language, you create a way to manipulate the faithful into blind obedience. I have argued that Divine Fire is always a refining, transforming fire, and never destroys. It is a unyielding light that transforms everything it touches into the likeness of God.

It is the breaking point for these addicts. If they do not change and get better, their addictions will kill them. Here is the supersonic state, that in which the relevant revolution is the speed of the communication able to renew everydary life, and that is the real terror, the official instabilty that requires a response.

Instead of being concerned in creating alternative spaces, society promotes the optimized consumerism spaces, entry points for the media networks, desire control instances.

It is also true that reality is not directly intelligible, because the speed of our machines and of our kind of life originated supersonic problems, which have equallly supersonic answers. It is in that zenith, in that apex in which technology responds in a stylized way to reality, that the supersonic behavior is most noticed.

Just like the The Matrix characters dodging from shots. In that exact moment, the fast technology, only by itself, reveals itself, passing of the spectral state of the sound to the visible state of the image. This is the moment in which the acoustic becomes visible. And also one in which the virtual forms its body. Usually, that happens when heroes intervene, finishing the local conflict, terminating the enemies of media, of the art of artists, of fashion or the performances science. The ideal metaphor, usefull for us to understand this technology glamour, is the image of a supersonic jet fighter tearing the atmo- sphere apart, preceding the sound until it becomes visible as an indication of high- speed.

It is the surpassing of the sound barrier, after which everything is possible. Because this society is agressive and consumerist, it searches for those deterritorializations, those new performance spaces, in order to live experiences that allow it to achieve new limits. In this perspective, life becomes accelerated and considerably spectral, fictitious, but with highly defined contours, justifying the passage of the Real to the hyper-real.

There is no chance of escape as there is a need for a high-style intervention, for to return media to media, because everything is too much media, an excess of combat communication looking for target-audiences. There are too much high-performance information highways that function as real provocation circuits. Since there are no more spaces available to store reality, the only thing left is the circuit, in detriment of contention spaces. There is no space, nor time to retain, only stimulations to provoke the supersonic fluidity, the flux continuation, as it is with a pacemaker or an Internet router computer.

What matters are highways, fast data networks and airports. To appeal to these means implies in a certain way instantaneity and statute, but also a way of perversion and adhesion to the danger. In this global combat economy, the car is a shock weapon within a circuit created for accidents, the data networks are the circuitry of distribution and access to violence, and airplanes are the real trans- portation in risk. Somewhere, there is a target-audience waiting for the redemption that media require.

Until the point that of people being pratically virtualized and avoid the interpersonal communication, but still building their spec- trum in order to not become different of the fashion police controlled semiotics.

Because there is a fashion police, just in case you have not noticed yet! It is most suitable to be tunned with the social spectrum, with the optimization, or to expect a shock, the wakening from the virtuality, the emptiness and the spectral proposals of identity transformism. It is notorious that the big concern of society is to improve data management, to create enormous collective identities and to depersonalize the individual in the legal law and the personal psyche in the name of the cathartic consumption.

Lets to com- plimment the personalization synonymous of pop improvement, for one must invest in the entrance to the chosen and sophisticated contemporary neobourgeoisie.

It is quite worth, therefore, to bet on high-risk and precision real time interventions, com- pletely surgical in its actings and effects. What does matter is to beat records faster! Just like it happens in an Olympic live competition or in a real time war seen through a videophone.


Within the milieu7 of this perverse, ludopathic8, resonant, self-promotional and tecno-fetishistic societey, everything that is being done is implied in the spectale; a spectacle where one can or should intervene. Just because society has discredited the demanding9, the social reality submitted to interventions it bothers and becomes nonsense. Considering that it does not make sense to intervene, we are, under lack of options, seduced by the broad spectrum of supersonic media.

What stands out from this new way of shock is the fact that it is a way to impress the spectator, agressing his conscience. The creation of seductive images to provoke the consumer does not represent all that the perverse communication can do anymore.

That is the reason why media face the way audiences developed anticorps to resist the shock of advertisement and spectacle. According to this point of view, the shock is no longer so shocking, and, for that, one must choose new ways to impress, basically inspired by terror and panic.

Lets us have in mind the new agressive styles of figures, prod- ucts, fictions, celebrities and special effects. To better reach its target-audiences media try to intervene in the public space through architecture. To these interventions, the architecture grants the statute of game and fashion proposes ornaments, being enough to the consumer to inject that virose.

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Experiences are being built at high- speed over virtualities that compromise the cohesion of the Real. Meltdown — lets not to forget the term that describes the spot where the high-performance ends, the centripetal place of shock, the womb that records all the affluence of provocative, stylized supersonic entities. Goodbye premature imaginary; hello disintegration of the landscape and occlusion of the Rea, congratulations to the expedition that reaches the core of the virtual, the game already began.

All the ideas and phantasies became applications, the monuments were eclipsed by the moments and the experiences are only pertinent if they are communicable, that is to say, transportable. Being a citizen is to become an impressive and agressive player. Around us all becomes artistic, thus it is forbidden to directly contact; to mediate is to preserve, to download is to congratulate the forced and forcible aesthetics of the optimizing media.

Hence, it is not worth fighting against a tech- nology that defines itlsef and formats us, each time more agressively and which is able to impress us with its own rhythms and trends, without any space left for the intelligibility of values. To provoke is enough. The new form of agression is impres- sive and it is beyond shock. It is through this videoclip formula that media are able to transmit the most mediatic message full of information in the minimum time available.

Bombing society with videoclips, media achieve an effect on the Real, changing the scenarios and the social figures, as it happened before due to the suces- sion of generations. The stunning impact of videoclips, the stimulation generated by these, makes possible that in everyday life all things unfold like a video screen, showing off the same stylized bodies, the same ambitious scenarios and luxurious machines, according to the approved provocative trends.

What is curious is that the videoclip is just a more studied TV spot that shows prod- ucts out of the product placement obvious logic. However, having in consideration that there is not much space left anymore that is to say, time to show so many celeb- rities in videoclips, the excess of stars becomes a serious problem.

Problably, there will remain only the celebrities whose attitude reveals itself more bold. The stylized rhythm of appearance of the celebrities banalizes all the power insignia, because it integrates an environment where everything is adjectived by principle: In summary, the stars represent an obsession for the standards of the high-production world, as the MTV institution demonstrates, a TV network that shows narratives the most jammed as possible, in the name of the optimization of the mediatic space.

The economy of the perfect images, in high-resolution, very hardly allows us to observe critically the behaviors instigated by the videoclip. The behavior of the indi- vidual promoted by the videoclip was accepted. This cocktail, that represents the images of consumption of the media optimized society, materializes the marketing plan that the cyberculture adopted facing an also viral supermodernism.

And meanwhile this technological subliming process of technofetishistic marketing works, the social consumption of products is made in panic, under the surveillance of the crypto-languanges, and through the epidemic domain of the imaginary.

The images that the means of communication have became the assassins of the Real, of the very few Real that always existed, untouchable and vulnerable at the mercy of visionaries. The major facade of this social neurosis impregnated of tech- nologies is that everything becomes an incessant representation, a lie withou return, a short circuit in the value improvement sphere, that then is called in a different manner, like upgrade or update. It is this the socially instituted neo-Real that holds the high-definition of the luxuries and lusts of the annoying star system.

Design introduces in this equation the desire to acquire and to handle fetishistic objects. But it is marketing that becomes a second institution within media, by giving support to the consumption through the demonstration of models built in videoclip style. If the Real has desappeared for the generations of individuals and for the general neobourgeoisie, that is because it exists the syndrom that it is more and more nec- essary to film intimacies, problably because it does not exist too much available essence.

One appeal very much to synthetic image laboratories and there is a lot of investments in the disappearing of spontaneity. Even that everything might be ajustable to it and reachable as if through remote control, all problems result of the fact that media had become an environment through architecture. Every effort and pseudo-illuminati projects were simply reduced to the fullfilment of high-performances, high-debits, being privileged the maximum of investiments, the minimum of reality.

The virtual and the absence of nexus in the Real inaugurate, even though, the paradigm of the conexus. We attend to a technological perversion occult within the data networks and in the fashion design, which is creating a new communication domain that functions everywear, all around us, within us, in our clothes, our skin, beneath the skin, even in the DNA — the code of the flesh.

In this social Las Vegas, all becomes image, as it testifies the the power of the videoclips, but the speed at which images intervene in society is supersonic, given that there is not much maneuver space left to question them — they are legitimate and accepted.

This is how all things become nor public nor private, but semipublic, thanks to a compression formula that gathers people and goods as if they were images stored in a hard disk. The way the individuals became characters, and not mere spectators, it is due to the fact of the consumption goods have been turned into space. And only media occupy already a very significative portion of the social space! Judging by the proportions that the social stimulated by the optimization achieves, there is some difficulty in trying to identify the actors, because we are all the actors.

It is merely a question of time until we all become actors acting among the ephemeral supersonic, especially now that one exceeds the ridiculous neo-romantic age of the high-tech!

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It is in question the optimization of the society through the codes of media, in the new fetichistic parade spaces, those of impressive consumption, of elegant violence, of hardcore shopping, that are the spaces of a theatrical nature, appropriate for seductive representations where the actors constitute also the audience that con- sumes in panic.

It did not took so long until the owners of fashion, information and marketing, to copy the concept for themselves, to apply it in the new mediatic economy sponsored by the high-tech and by the haute couture.

In addition, it is alleged that the new worlds of the consumption receive the individual by selling to him an intended entity, an entrance in the fascinanting and elegant environment, connivent with all that the celebrities possess to define their statute. It matters to invite the individuals to renew their personality and to show with prominence the ornaments. It is part of the optimization that the acess to a virtual reality similar to the one of the videogames should be public, so the first person fiction experiencies are quite worth anything.

The city, the embassy of the polyester where the society acts out, is an unique battlefield, a court of shockwaves, and an ecosystem full of pop phenomenons. In this space, there is an emptiness provoked by this rain of stars that demonstrates how exactly society performs, too much obsessed with its improvements, involved in its addictive and hyperbolic rhythms, lost in the ephemeral supersonic. The entire urban tissue seems to generate traffic in a non-stop way.

The Society concentrates its efforts in the promotion of the incessant rhythms, because it moves them away of the immobile History and the perversely updated Law.

The problem is that the individual is incapable to fully comprehend the technologi- cal architecture that involves the urban spaces of this society. Meanwhile, new mobile targets will appear, consumers that have panic attacks in this agressive urban cosmos, where the body is, indeed, a real battlefield for the promotional and techno-scientific sectors. According to the moribund cyberculture, this urban space can only be understood as a game without rules, appearance or depth — a transparent multiverse12 instead of an obvious universe.

A vectorial arena of organic statistics that former were healthy people. There are no doubts that this society cannot be turned off. Every wall is disintegrat- ed, the solid is liquified and the mediations operate as mills, exploring the strenghts of the flows, of what it is passing by, of what does not stay, of the supersonic. The official game of the society is huge, the networks are its own effects; there is not, there was never nor there will be an end. What is left is a history of movements, ideas and power, leftoverses of representations now retained in instantaneous media flows.

Thus, it can make sense to interfere and ridicule the spectrum of media, because media have too much power. It is at stake a whole new class of figures able to attack the also predator global popular culture in an aesthetic way.

It might sound absurd, but the saboteur and, at last, the terrorist are figures that are associated to precise acts, and not to mediatic simulations. After so much technology, to sabotage seems to be the most obvious counterpoint to the global world of epidemic consumption. It is not in question if it is this the best way of acting, but certainly is as perverse as the network communication of today.

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The saboteurs, just as the terrorists, cause the mass panic, as if it existed a new nuclear age, an improved terror provoked by an invisible detonation, an atomic silent bomb, resonant, altough encripted.

What is most probable is that this terror increase the optimization, because, under the threat of the economical meltdowns, the individuals have the sensation that it is necessary to obtain the best possible results in the minimum amount of time, as if the world would end tomorrow, because it is not known when there will be an end. It was this area of the business and of the communication that managed to erase the borders between the Real and the virtual, because it attenuated the bordering zones that formerly separated the social realities.

The only thing one can notice is the reality of media, which is an authentic factory of hyper-real, because it is the natural cause of the existence of the optimized reality, of the universe that shares the plasticity sold through the videoclip. Indeed, it is as if a perfect reality is what would only exist, and outside of it nothing would seem to happen but errance — the non-conscience that the mediatic discourses hurt the architecture and the urban tissue of this society.

As a response to this errance, the sabotage and, unfortunately, terrorism, exhibit facts, acting instead of acting out, going far beyond. The sabotage tends to be more creative, but terrorism reaches the unnecessary sphere of destruction. Terrorism it is the subtle enemy, capable of destroying more than the disatomization.

It does not needs to blow because it does not detonates, thus it is detonating itself, as the cyclic movement of waves in the beach. But why is it that one responds so agres- sively to this seductive and lunatic society? Mainly, because this society resigned itself before representation, forgot the revolutions of ideas, turned itself to the epidemic con- sumption and segregates the vanishment of humilty, in scenery where the control that generates lacks does not controls nothing.

Around us everything is virtual. The violence it is not to be aware of this fact, but in the acceptance of it. The social game is a mediatic duel; hence, after theatre, the fight moved away to the video-screens, and these returned it again to the street.

All it matters is to proceed to the next level, it is this the contemporary conscience; it is like to play videogames, even that to acess and score in the game might be needed to simulate.

The modern capitalism, and the war machine, declared the begining of this society of the perverse games, mainly when the shockwaves of the Cold War reached the entire globe under the shape of voracious images and trends. After a Cold War and a poten- tial Future Shock, we are trascended by a terror of the present.

The real military game began. There are rules, players, spaces and enterprises that provide the technologies for the high-level experiences.

However, no longer are the engineers or the teachers the owners of the information, for if the information constituted its own environment, who are the most suitable to manage it if not the architects, in an age that the neural tissues of media intersect structures and spaces? Lets improve the maximum of power with the minimum possible noise, therefore in the new fibrous spaces, under the responsibil- ity of the architects, consumption acquires an hallucinated consistency optimized through geometry, a temperature achieved by the supersonic world of the hyper-real image.

Outside of the high- resolution game, everything lacks of coherence the pathological and nostalgic uni- verse , for it does not exists any thing quite attractive, although everything is full of beauty and even photogenic. Now, all that was established is subject of a ferocious transfiguration in a dialogue of atemporal nostalgies. We all can contribute, at this moment, for the industry of the stars.

It is like as if media embrace us and would treat humans as a second fauna, making use of effects special, we must underline , predators, victims and baffling spectres. Media have a life of parasite, and the price is to accept that parasitism, the agreee- ment with the virtual, the bizarre contract between produced domains of desire and those left to produce, the dimension of the supersonic existence, a virtuality so acceptable that does not allows be aware of the optimization.

In addition, in an epi- demic blow, high-quality and high-definition images proliferate, so viral and spectral that contaminate everything, just like the socially adored images described in Idoru, a William GIBSON novel, in which computer made rock stars or holographic top models were gods. To be seductive stars forever — that is the question, indeed!

Imponent as the religion of other times, pop culture segregates games so inno- vative as violent, inciting to trance and threatning the society with its own sexual architecture, its own game of trends and semipublic narratives, of the kind of the Big Brother TV show.

One achieves a point of mediatic excitment of such a degree that one takes a chance to respond to media, to the excess of mediatization, of violent glamour created by the means of communication.

It is in our reach perimeter, being almost an obligation to respond to the arrogance and to the vaccum of the mediaimages. The violent glamour is totally legitimate, but it requires an equally legitimate response, saboteur, as a consequence of the saturation of the porn products of media. Knowing that this glamour results from the new fascism of fashion, one intends that the same social violence should be returned to it, in a mediatic and stylized way.

Let it be clear: In Idoru, GIBSON demonstrated, in the fiction genre, that the future generations would inevitably be devoted of the images exhibited among media: To create games, to seduce, to sexualize, to sell and to adore are the goals of a society in which all beings and objects exist under the supervision of a high-definition seduc- tion protocol. This implies, automatically, that all the environments look like clubs, raves, videogames, American movies, videoclips like those of MTV and parades of fast fashion through the supersonic haute couture.

Nothing sells so much nor it propagates so much as the inaccessible statute, the image borrowed at the speed of sound. It is the fashion machines and those of media acting at the pace of the dance music BPMs Even the street changes itself according to these new violent discourses, being identified each time more with a videoclip on the fast pleasures shot in live.

There are few public spaces expecting the individual that do not resemble shopping malls made by Sony or Emporio Armani. Reality makes sense only if it exists in high-production and in high-quality, entering design in the equation to brighten up the distance between the technology and the art and to create something new: That is also elegantly violent The high-style appears from the necessity that media had of a face.

Capital required personality, substance; and information needed shape. Like dancing capital moving itself, this new breed generally stylized, impregnated of violent glamour, is as supersonic as it is elegant.

One has to respond to it! History dies without style, the present time is organized by design, and it is quite acceptable that media want to be in, that they want to have more inputs. Even the omnipresent neobourgeosie requires already worked data, ready-made products and haute couture. Everything becomes a question of interaction through textures, as it is for a stylist, wether its about fashion or information.

Responding to media implies to share the agressive curiosity provoked by the obligatory seduction. It is the fashion war left by media that takes us to the battle for the desire. The fast pleasures architecture makes, therefore, fashion victims, which is a fact, between the overload, the excessive speed, provocation, emptiness and abundance: Surprisingly it is the design, by replacing the grand style, that constitutes its own fetichistic culture and that is in charge of the reality, shaping it with functions that are more than stylized, that is to say, de-realized.

Byt taking to the reality the aesthetics of the virtual, design leaves in its poverty the objects that only dispose of function and nothing more of extraordinary, destining hyper-real objects for the fashions. To respond to this violence of the things that are full of design and that are fashionable, one needs to communicate in the same language, what is obvious because the violent languages of seduction chase the individual, leaving him in vile optimized state.

As the individual becomes more vulnerable to the images, he depends each time more of tops, data improvement statistics and of the behaviour monitoring consoles. One aspires to the generalized hacking, to the connection, but as by response, no more as adhesion.

Say hello to the hommo conexus, even though the connections are the major problem, given that not only they isolate the vices, as well as they irrevers- ibly increase them too.

Having the optimization in sight, the individual tends to live intense, hypermediatic experiences, knowing, apprehending and acessing to everything, therefore he has the conscience that in this society one acts out and not acts in an entertainment economy. This is not about avoiding the social noise anymore, the offline universe that is left for all that are unplugged of the seduction. Now, the goal is to runaway from the annoyance. The absence of optimization means to be excluded from the core of media replete of design and credibility, the annoying reality.

To contemplate an un- optimized reality is to be in the social polyhedral territory, in the ambit of the schizo- zones of the excluded individuals.

Far from the beloved optimization, the social noise defines all that is known as nostalgic trash. The question is that most of the society is already contaminated by the policopy and the porn virus. The neobourgeosie spirit of fashion and of the information general- ized itself and crosses all classes; hence, the non-optimization challenges the inter- vention of the aesthetician of media to recyicle it in something porn and attractive. If things are not provocative they just do not make sense, they must place the individual out of the range of the invented annoyance.

Since society accepts this reality, it appeals to its economical and informative powers to constitute its own scenery. And, if the fashions underline the mechanics of all messages, in this moment it is evident that to be well it implies to be in.

The perfect and fine tuned, completely clean reality, submited to surgical inter- ventions, does not represent all that happens. Considering that spaces thought by the postmodernist architects are full of evidences and incite to the exploration as in the multimedia artworks and the avant-garde installations , it is comprehensible that all looks like an enormous videogame whose environments seduce us while we runaway from the annoyance towards the panic.

The fascinating high-resolution and high-definition of the urban universe is a subtle and violent epidemic, which reveals the mission of terminating the social noise led by the figures of the optimization.

All is worth it in matter of searching virgin soil for the high-consumption and the high- style. We have before us the backstage of the new architecture and the new compu- tation: These attitudes owe a lot to the spaces where they are noticed, because by having media dominating us, it is comprehensible that we perform roles that are more con- nivent with those of the celebrities of the communication. The utopian, glamorous, sexy reality leads the way amidst the new environments of communication, with the single goal of eradicating the annoyance in favor of an optimum desinhibition.

A horror reaction to the emptiness and a fear of the annoyance appeared, at the same time that catalogues of ornaments and luxurious goods are consumed in panic, under the terror of the negative critic of media. The optimization does not gives hypotheses, it gives chances of payment, showing off violent models of consumption to exert control on all that it borrows to the individual.

The optimum environment that embraces us is thought for cosmetics, media by-products, representations of fashion and novelty. The reality of the individual is an inevitable consequence of film paradigms and of special effects computation.

All and any style of life, either produced or bought, transforms us in something strange and schizoid. Thus, in order to one comprehend this phenomenon of the life style created by media, it is necessary to consider that the relationship of man with the consumption is a homage to engineer- ing, fashion, style, the circular effects of drugs, the ellipses of the desire and to the perfect dance beat.

A nothing, museumified, soft, cool, futuristic, pop, milky white impels us to look for a substance. A substance that media propose with their styles, sceneries and figures, where only the nothing awaits us so it can never clarify us, either it is in a shopping store or a near you design gallery, a luxurious vehicles stand or inside a supersonic jet full of provocative holograms. The wonderful ambience that it is offered to us by media, disguised as a redeemer form of advertisement is an Olympus of eroticism and information athletes: It is one hundred per cent indicated to an elite of people that covers the several social stratus searching for new interfaces, social experiences and strident sensation games.

If one looks back in time one can notice that the cyber contaminated the society, it was fragmented and it is tunning the individual for the hyper-realities, for the high- resolution experiencies, only with our bodies, our desires.

However, the media had been merged and instituted an absolut space of provocative obsessions. Perhaps that is why the new drug is the social game, techical for its way of seduction and in the way it defines the boundaries of reality.

What we know is that there is an arena, a technical mutation that requires our intervention. We intervene and become agents of the game, but what should one do anyway then? Either one is in or out!

The opti- mized society functions at high-speed, there are no margins, only hyper-sensibilities within a context where the mutation and the accident are the chosen values and the encryption is the axis of the new languages. About the new languages, these offer, indeed, a chance of writing the new games and characters destined to intervene in the video-images or in the social catwalk. Among this society obsessed with the life styles, all the registers are eroticized along with the characteristics of the city and the game.

In every place, turism invites us to have cinematic experiences, marketing sells our image, porn images pretend to give us a mega-orgasm, the advertisement transforms us in an immediate brand and fashion dresses us in order that media can obtain audiences.

This is all a game whose objective is the game itself, but that it is not that healthy as one might think it is, given that, like the war sometimes it becomes the enemy of those it was suppose to defend. To respond to media, given its acceleration, it is to invite the architects to transform the public space into a media cavern, catwalk, hotel, mall or political TV studio.

Since everything becomes city, everything accquires the statute of the game and its laws, figures, effects special and defects. However the defects are what drives the ambitions of the invidual that is infected by media for optimizing his life style, in order that he should seduce, and that all should be artistic, vanguardist, agressive, impressive, powerful, compulsive, erotic and sexy.

For the obsessed individual, nothing is more attractive than the immediate, ampli- fied, synthesized artifice that has become the zenith of technology and of our collec- tive imaginary. At the same time, power is no longer recognizable anywhere, because what has been left us is a sameness.

A sameness that provokes the need to deviate from the errant masses, but with an original signature. Anyway, what matters is to adhere to the virotic consumption, to download in panic, independently of the reason.

With this attitude, one contributes for that the Past becomes irrelevant and for that the supersonic images and the techno-fetichisitic fashions become the center of all concerns. Through design, the surgical cosmetics, the porn and the information tech- nologies, the poor reality without definition turns to be completely dismantled and amplified in the signals of media equipment.

It is obligatory to seduce, to sell, to download, to fornicate, to show and to exhibit. This entire technoculture is fruit of the creation of cyberspace at a time that one thought to be engaged in the Future Shock. And today what has been left to us from that self-sufficient technological culture if not the cyberspace?

From that time, the most poetical and symbolic legacy, that it is generalized nowadays through the haute couture and fashion, is the enormous sun glasses; forever associated to the class of speed, of high-performance and of the high-style of pilots, cientists, athletes, engi- neers, DJs, actors, top-models and writers of the new age. IF TODAY THE Individual is as worth as the economical values that support him, that is noticed mainly in the style in which he invests, in the image that he projects and, perhaps then, in the personality that he cultivates.

In detriment of the Self, it is a shame that one leaves, like this, for last place, the personality, being underlined the obsession with the life style. Due to this obsession with the exterior the only thing shared among the public space are hallucinations. Henceforth the social resumes itself to the share of games, fashions, scenes and attitudes deprived of meaning. In summary, there is not much that matters more than the experience, than the share of surreal within the media, thus space is a consequence of this elements, a concept.

And that is what happened. The culture, the western society, our urban spaces, were entirely redefined according to the vehicles, the people and the structures that play today in this sanitarium, virtual and hyper-real fast utopia.

With the conceptual space of the network computer, the society optimized itself in the name of the obligatory seduction, what turned to be possible in a very voracious way for the high-performances, productions and definitions of the new chic. Above this plataform of accelerated game, of high-competition, the luxuries in terms of social interface are worth a lot.

The reason is that the luxuries already are the spaces of this society, they were thought according to the identity of the game. Now it is ours the role of inviting everyone that is capable of becoming a player of the greatest TV show that it is signed down live. The motive force that promotes these games is the advertisement, pratically since the advertisment agencies were dedicated to improve images so that one could consume the maximum of seductive information.

Say goodbye to the substances, the stylization eradicated them from this uni- verse, so there is no essence left to translate in seduction. The seduction is inevi- table, because the advertisement is more and more able to occupy more spaces, downloading walls and other kind of surfaces to invite one to adhere to the epidemic consumption.

The TV shows and the videogames appear as a hypotheses of redemption in relation to a panic of consumption, when, in fact, the participants of those shows and games just bury themselves more in the advertisement territory.

The marketing wins. However the fascination rose by the social optimization and the will to belong also to fashion opposes itself, by one side, to the reality that has no soundtrack, that is dirty, that has no lightspots, and it is banal and imperfect. In the other side, we have the cult of perfection and the cult of direct design that intend to favor the new and optimum kind of fashion. Paying attention to the decrees of the optimization, the society adopts this ideology of generalizing the movie-game, the interface-game, the videoclip-game and the fashion-game, trying to transport every individual to some- thing fictitious deprived of the main titles and end titles.

There is only context and mediation, but it is not to the nature environment that I reffer, it is the communication environment that sells obsessions to us all. Having media everywhere, it ceased to exist one solid ground; our universe trans- formed itself in a problem of fractal consumption, a virotic debt to comprehend once and for all. Examples of that are the K.

That is the genetic map of the brain, the essence of the supermodernist thought. The real map is no more a bidimensional genealogical tree, but a arterial globe with an amount of information which is a sample of what was already seen and, simultaneously, a promess of what is to come. And it is the chemistry that drives all the arguments. It remains to us the chance of driving towards the high-defi- nition, the high-fidelity, considering that the reality became a copy of itself multiplied by thousands.

Only the climax justifies the new games, the maximized and optimized games full of immense fringes and doors of joy. Reality derives of these new fractal environments, of these clusters of novelty that are instantly born among us, as if they were wild life.

But the optimized, chic individual, obsessed by fashion and design, will continue to live of the abrupt, virotic, intense, predator and tearing model. Semiotext e ,, p. Brian Massumi, London: Athlone Press, , p. They had to more.

Theme parks, cable networks, radio, consumer products, books and music, all became prospects for their potential emprires. Medialand was gripped by merger mania. According to the fact that the media are everywhere, the computer began to dis- materialize it and the images and the information became the same type of mediatic object. After the peak of the cyberculture, we have before us the effects of the new seductive control: Simply, everything that was media became space, a form of soft control capable to exterminate the serenity.

Without margin allowed for the reten- tion of whatever might be, the spaces became a luxury, a warranty of the slow con- sumption of images in high-definition.Regardless, excellent lecture. Pleased as man with men to appear, Jesus! This is insanity. Your browser indicates if you've visited this!

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