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Kruschiki and the scribes of Thoth


I’ve often thought the same myself—why can’t we have the DDR flag? Why can’t we have the flag of British North America or the Confederate flag or the flag of Hitler’s Germany? It’s to do with who controls the symbolic economy—just like in ancient Egypt, the scribes decide that we can have certain symbols and not others (being “profane”—or “evil” or just, perhaps, “irrelevant”). It’s because symbols can change reality—so we let you have Horus but you can’t have Nut.

Indeed, the emoji economy doesn’t include hieroglyphs either—so you can’t inadvertently begin to revive Akhenaten’s solar cult when you text your gf. This symbolic language isn’t jail-broken—the scribes have got us locked in to their magic.

It’s not even that to let people have the DDR flag would “bring back Communism”, it’s that it could (and would) be used in all sorts of puns and ironic statements that might undermine our system; just imagine, for example, if the old USSR flag was available as an emoji and Republicans posted it over QTs of Hillary Clinton as a regular act (that symbol is a sigil—it’s magic; it’s more powerful than just to say “Hillary is a Communist”, image > word). If you let people have these old symbols, *anything* could happen.


The Simpsons are white, right? Well, they’re yellow—but you know what I mean. You know it’s so because Dr. Hibbert is black and Apu the convenience store owner is Asian, right? You know, in an implicit way, that America is a white country—that’s how you know when the Simpsons are yellow it’s an artistic conceit, a way to underline the cartoon aesthetic (where *anything* can happen), and when the yellow-white people encounter a “non-yellow” then the character is coded in a style appropriate to race (The Simpsons has to make Far East Asia characters “the yellow man” whiter than they are usually portrayed so as to preserve the difference; and the program also accentuates their Oriental physiognomy too—slitty eyes).

You notice that cartoons that are more realistic and “adult”, like King of the Hill and Family Guy, have accurate racial depictions for the white characters—yet The Simpsons is that much more juvenile, that much more a family show (created by a man, Groening, from Evergreen State College in Washington state—the most pristine of progressive institutes) so the racial aspect is played down.

“Just because I’m not a yellow man, some people think I’m primitive.”

This semiotic “white = yellow” was once more general than The Simpsons. For many years, emojis were all yellow—yellow meant “universal human”. However, around 2016, progressive activists glommed on to the fact that “yellow” means “white” in implicit terms—perhaps thanks to The Simpsons. Hence the yellow emojis have imprisoned races and ethnicities in “implicit whiteness”—a true ideology, in Marxist terms, that you couldn’t see because you just thought it was “universal” or “natural” (the water in the fish tank the guppy never sees). You didn’t realise it, but everyone was being forced to “be white”—through yellow emojis.

Hence race-realistic emojis were adopted—you can now press on an emoji for a second or two and see every shade of skin colour available. At once, everyone began to use “racially appropriate” emojis—“At last, the ideology has been foregrounded—the mystification exposed, the exploited raise their consciousness to expose the oppressors! [insert clenched black fist]”. The only people who didn’t start to use race-appropriate emojis were…the whites (who, being achingly politically correct, started to use black emojis instead).

In the Marxist framework deployed to explain this development, you have the “bourgeois liberal” stage, like the French Revolution, where there is much talk about “the rights of man”—the yellow emoji expresses this notion, it is the “universal rights of man”. However, we have now exposed its implicit exploitative and hierarchical structure—as much as the reign of priests and aristocrats, the yellow emoji also mystifies the oppressed. It is only when we demand workers’ rights (as in 1917) or, today, black emojis that we can foreground the hidden exploitation in this supposed “liberation”—neither “the rights of man” nor “the yellow emojis” were ever really universal.

Hence our consciousness has been raised—and we have become that much more tribal, for now we cannot use the courtesy “yellow” emoji and just assume it applies to us as much as everyone else; no, we must use the race-appropriate emoji—so as to raise our race consciousness—and soon we will see there are more of “us” (non-white emoji users) than there are of “them” (white emoji users). The oppressed, realising their actual situation, will rise up and cut off their nobs etc, etc

Another way to interpret the yellow emoji is that it was developed by whites—at achingly progressive places like Evergeen State College—so as not to impose upon others, whites being less tribal than other racial groups (especially North Europeans, the great individualist race). The entire idea was to encourage people not to communicate in a divisive way—you can take my “yellow” emoji to be whatever race you please (picture a late-90s libertarian, signed up to the Electronic Frontier Foundation, talking about how “once the world’s online, everyone will collaborate together creatively to solve our common problems…”). 🤣


William Burroughs noted that the Mayan priests controlled their population through the calendar and the codices. He relates in his The Soft Machine (1961) how he travelled back in time to the Mayan pyramids where he recorded the chants of the priests Ckhuh’gu-Ckhuh’gu-Ckhuh’gu and photographed their ceremonies—he then threaded this audio-visual information into a positive feedback loop, per cybernetics, that, in its acceleration, tore the Mayan “control machine” apart.

It’s the same idea—the priests of Thoth control the symbols, control the calendar. What do you think Black History Month and Pride Month—and all the various pseudo-saints’ days in between—are other than “the control machine”? The perverted priests—deranged, mad—create these holidays and feast days to discipline the population, to plug the peasants in the field into “control”.

Why is there a popular Twitter account called “St. Javlin” that inverts Christian symbolism and worships instead women and high-technology (the Javelin anti-tank missile)? And why does that account exist to propagandise for the Ukraine?

And why do I call it “the Ukraine” and not “Ukraine”?—because I regard it as a Russian region, like “the Pennines” in Britain, and not “Ukraine” (as in “Germany is a country”); and, just the same, it’s “Kiev” not “Kyiv” (or “Keef” as it comes out in my mind—like some trapped air that has escaped the female pudenda). The Soviets had May Day, the Christians had Lent, we have Pride Month—it’s about the rhythm you march to.

While it is the case that language cannot change reality by fiat, so that you cannot just lie and call a “spade” a “marshmallow”, it is the case that if you work within the meta-semantic and the means by which words are presented in the aesthetic register you can alter reality. Burroughs knew that photographs and audio could be used to change reality—he was once treated badly at a Soho coffee bar; he made sound recordings outside the bar, then altered them—looped and re-looped them—and soon found the bar had closed down. That’s because Burroughs was a jobbing magician.

Hence, for example, someone today noticed a picture from Vilnius, Lithuania that showed a group of young children there complete with one black child—and they said “0.1% of the population is black”; but that’s not the point—the child isn’t there just to conform to Western propaganda (it was for a NATO summit, so everyone needed to be in line with America).

No, the photograph is magic itself—to do that will make Lithuania multi-racial; just as the way white men are positioned in a derogatory way in all mass media is not only about literal “response to stimulus” or Pavlovian brainwashing but rather is also about actual magic that will make those situations come to pass. In the magical realm, there is no difference between past and future—if there’s a black child in a photo from Lithuania, that is already Lithuania’s “future” and it has already happened.

Rather like the Mayan peasants, who, in the viewpoint put over by Burroughs, gladly slaved in the fields for the priests because they were “bewitched by symbols”, so too everyone in the West today is under enchantment—you have been bewitched by the deranged priests of Thoth, who are mad (blind and insane—they crawl over each over like white worms in the dark, like threadworms in a child’s dung).

That is why you can’t have a DDR flag or a Confederate flag—or the flag of the Mahdi or Edward Teach for that matter. That’s why all the reaction gifs are black men or women—you will only respond as a black, you will assume the black mask; it’s empathy, when you copy the object before which you stand. It is the perverse magic—it is the corruption of the meta-semantic. There is not only a political Overton window, but also a symbolic Overton window that draws the lines on the psychic tennis court and tells you when a ball is “out”.

It is not only that you cannot think beyond certain bounds—it is that you cannot express your self beyond certain bounds. It’s not that you’re not allowed to say it, there is literally no way to say it.

That is why I have come: I have come to say to the mad priests, “Enough!”. These people do not transcribe for Thoth, anyhow—but rather for some other god, much more horrific than mortal man could conceive of. Hence I have come. You will know me by my mark, the mark of Costco, deployed when a product line is due for termination: *


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