TUTOSHA:

From that time, which began in two thousand and twelve, I began to look and understand that the problem of the formation of a subject into a person is that the subject does not accept the rules of the game created by the creator, in the form in which these rules are interpreted by the creator themselves, trying to impose on themselves their own rules that will make such an existence easier, taking them away from the pressure of life, developing only the properties of the ego, the very false one that pushes the subject further and further from the concept of “man.” I called this space “TUTOSH”.

Tutosha is a heterogeneous environment inhabited by subjects who are unable to accept the essence of life while being located in the space of life itself. And those who refuse its rules for the sake of PLEASURE. Therefore, we become inaccessible to the BEAUTIFUL. The essence of which is to reflect all the images of the creator creating this world in the space of HUMAN.

Today it turns out that the individual cannot allow himself to be himself in the initial stage of creating himself, to become an individual in order to subsequently become a person.

In the space surrounding everyone's world, there are very few of those who can meet the criteria of a person today. And this is the main question, why does art, to which the Tutoshi population has submitted, lead the subject further and further from understanding himself in truth, and does not strive to bring him closer to the “creative system” that fills the essence to the limit of man?

That's why I divided everything into three criteria: subject, individual and Man. Because these are three stages of expression of beauty in the critical idea of ​​the PERSONAL SUBJECT, which I would like to present with this text.

Of course, such a formulation of the question is completely offensive to the false, but if someone has identified himself in the essence of humanity according to physiological data, this does not mean that, in essence, this someone is a person. That's it. Why can't art reveal the essence of such knowledge?

What art was for us now and what its subject relates to us today, in the expression of personality. In relation to the outside world. Which, in fact, is included in the criterion for finding a person. Why does it continue as it is today? And for what? Why does art no longer work as a means of achieving the idea of ​​personality?

Why does the tendency to believe in this “institution” define us as hostages of other people’s opinions, as well as everything artificial, which makes up most of this bullshit, turning everything truly beautiful into a LIE?

All these questions require clarification for a long time, and now the need has come to make an attempt, which means sharing with you the idea that I found in my head that same year. You can imagine the feelings of a person who finds himself here in this tutoshi, whose educational processes related to art have already completed successfully. We, who are where I come from, have moved from the time of imitation to the moment of the beginning of creation and found ourselves in the reflection of our fulfillment by space, expressed in the absence of FALSE, with which “art” saturates the environment today. This is where we are now. As I lived in “Tutoshi”, I more than once raised the topic of the issue of LIES, trying to talk to those who echoed the “MANTRA” about beauty. As a result, I always came across a paradox in which the beautiful is not reflected in the one who speaks about this beauty. Which, according to him, is the essence of art for those who are burdened with it. And here there is no contradiction for the apologist, because as you will know, in the object of the institution of art, the invention of imitation is a piece of that very idea that correlates with the beautiful, but only no more than the object itself and only in the Absolute of the concept of “art”. It is precisely in this identity that “art” is no longer defined for a number of reasons, which we will certainly touch on in this discussion. The lack of meaning, for a number of reasons, is also manifested in the concept of religion, and in relation to the institution of family in the understanding of all the most sacred things that the inhabitants of “Tutosh” have - this is a very strange attitude towards the concept of “love”. Paradox: lies between faith in art and the absence of an opinion about beauty in relation to the subject. And so, why does this contradiction in no way find its resolution in an approach to the essence of the whole beginning, i.e. creativity? I think, therefore, since any related activity in the meaning of art is only a parody of creativity. More precisely, only its initial stage, as a periodical, the present growth of the moment of personal development in art, before leaving the state of a given period, and only having gone beyond such a period, can we begin to talk about creativity. And it doesn’t matter at all whether you want it or not. This period inevitably comes, but not everyone can afford to leave themselves without the artificial illusion of reality. Present only in skill, expressed only by an inanimate object. Each period-epoch gives rise to rules for reflection that were created long ago, but each author tries to interpret the essence of existence in the manner in which his perception is located. But he never achieves success in his dispute with his artificiality before being. For artificiality is the illusion of superiority over nature, and the ego loves such illusions, since the comfort of such an existence, for it, completely depends on the depth of immersion in this illusion by the subject. And the deeper the immersion, the larger, stronger the falsehood and stronger the misconceptions about life.

I am not in the mood to interpret something similar, but I am making an attempt to describe my ideas without footnotes and quotations, without using someone else’s thought, directly, since I know the idea and follow it myself. I myself do not strive for originality, because I believe that everything necessary to create beauty in the world has already been created a long time ago. Space does not need new proof of the rightness of Creative people. The definition of judgments in this material is based only on specific examples of resolving the essence of the issue of FALSE, with the knowledge that from century to century, from year to year, day by day, minutely interpreted, ground up, remade by subjects into “quotes” in order only to stand above their fellow tribesmen, to get out of the stream of life due to the “ignorance” of their fellows, exposing themselves to fame within the framework of artificial activity. I would also like to clarify that the categories to which I am appealing here, framing everything in the chain of subject, individual, person, I am addressing only the sphere of artificial activity and those who are passionate about it, today classifying myself as an “artist from art,” for example. In my judgment, I defend the position that outside the framework of this institution, beyond which I myself have hardly yet gone beyond, there are many more who fully meet the criterion of human significance. Well, the essence of being in identity with apologies for the institution now is the appearance in the subject.

The voiced position is the idea of ​​​​the need to define oneself as invisible to such an institution today, to dissolve oneself in an idea where there is no longer success and fame, life for the sake of these categories, in relation to the happiness gained by money, almost the main argument of the ambitions of the subject, once called “artist”. Today. Now. There is an “Artistic Work” for everyone and it is contained in these expressions: “TOTAL CREATIVITY” in the system of “PURE CREATIVITY”. What is this? This is a creative system. I want to talk about her.

Why can't interest be conditioned by trust in a given text, without authorities to refer to, only through the fact of its appearance in front of you? This is already a topic for discussion within the framework of artificiality. So, I want to say that the voiced idea has long ago begun to manifest itself in reality, which is why the text will seem to you just fiction in comparison with the power of philosophical work left to us by our predecessors, who adapt this issue to each turn of development of “TUTOSHI”.

The essence of an idea, its appearance, and the ability to stand at the level of being, has a certain mechanism that artificiality cannot manifest to the level of reality, without relying on authority. Even if the purpose of this idea is fully understandable and known to the author, it is impossible to prove its ability to the subject without appealing to the authorities recognized as artificiality. Today, I don’t need to rely on the names of my predecessors in order to persuade the reader of this text to trust, for the reason that my rightness or lack thereof in distrust is unlikely to change anything, just as it didn’t change because of the rightness of those who tried earlier? Everything will remain in the same place! What is also proven by those who, in an attempt to give something new, opening views on lies, addressed the same question, pointing out thousands of reasons to believe more than one, citing authorities. What is the reason for such distrust, if it is asserted that there is knowledge and there is intelligence, it is difficult to say directly, but it seems worth guessing: “and then, for sure, it is unlikely that you need to save yourself from another attempt to explain the absurdity of Tutoshi’s artificiality”? On the basis that in our reality this transition has already been completed, which means you and I are also destined to make it, having become acquainted with the new idea of ​​“pure creativity”.

And so, I based this text on my observations, through mediocre participation in the processes that affected me personally and already my family in the new reality. Until the moment of my awakening, I also aspired to take a place among those who call themselves artists in Tutoshi. I spent my energy trying to become successful, succumbing to general hysteria, sublimating myself into artificial activity, hoping that the institution of this environment would notice me and identify that “artist” in me.

Now: “To not care about life means to allow yourself to be followed by your egoism,” which will gradually fix views on life at the level of the “subject,” thus defining the essence of his being, “life” in which will be reduced to dull desires and dreams of greatness. And it doesn’t matter, even if it had never actually been manifested.

Having ruined everything that was left for me to remember from life; the remnants of the family in which I grew up and which, in turn, I began to lose, without realizing it, by going over to the side of artificiality.

Each of us tried to put ourselves above others, fencing ourselves off with this thought of the “high,” the illusion of belonging to some higher cause, which allowed us to behave hypocritically and irreconcilably with people’s judgments regarding true things concerning the concepts of responsibility. I ignored life, considering it just a means for the projection of my illusions, in complete indifference to love. All this is my experience of contact with the institution that threw me into “Tutosh”.

Defining the general ideas and meanings of “art” today. Determining the aspirations of “artificiality” and essence in their significance for the development of WE, became for me an important part of observations against the backdrop of the feeling that I encountered while immersed in the depths of this mechanism, which left in me only an echo of happiness that had not happened, and now is not achievable from that point, looking from this one. Was my choice such that I would first understand what conclusions I would come to today and where I was going? Naturally not, something completely different captivated me. Having reached a certain stage of becoming familiar with Tutosha, I was faced with such a paradox as unconsciousness, and it was this moment that began to sober me up. What I mean: more than one subject that I met during the period of my contact with the artificial world, in a narrow circle of “authors”, those with whom I was personally acquainted and among many of those whom I recognized, turning to their essence in life, starting from the judgments of their works by the institution, on a global scale, did not dispel wariness, but only created new circumstances, strengthening the consciousness, in conclusion, located in the absence of a transition from spontaneity to mediocrity, speaking in the language of practice - transformation subject into a person from an individual, based on meanings, in relation to such a concept as beauty, and of course being in the essence of this phenomenon. I examined the mechanism of blocking the desire for such an ascent under the influence of the institution, which is called “art” here.

In Tutoshi’s system, art and the concept of beauty are not combined, just as the qualities of a person are not determined in the very expression of beauty, nor in such an “objectivity” as an artist or, what was completely naive to expect, in a subject. I made a discovery that amazed me: it means that inside this comic institution there is no individuality, there is success and there is talent in the equivalent of fame, money, the desire for it and nothing more. The mythologization of this paradox of steadfastness is the same for the entire conceptual system of Tutoshi, simple, and automatically supported by the subjects themselves, constantly appealing to some authority known to them, appealing to the rightness, speaking about the sublime or the incomprehensible, expressed through the lips of a person who requires more and more attention to such a metaphor of an artificial skill as “talent”.

Talent is a concept imposed, on a whim, existing in the system of mass artificial psychosis. Talent from art is a sacrifice of personality. Talent is an artificial concept. Talent is not nature. Talent is the united opinion of an institution about the quality of skills in imitation of an object of art, expressed in space through the authorities it has created for the public.

Where I came from here, talent was replaced by ability, we replace the concept of ability for an individual with the definition of the growth of personality qualities in relation to the ability to create oneself, and control one’s reflection in space. (Material about this is being published right now in the text “Russian Vipassana Cuisine”. So we will learn to distinguish the features of falsehood in ourselves. The artificiality inherent in us now, which means we will receive the vision of the beholder, and only after that we will become creators.

DEZO.SPACE 2021