This text builds upon the ideas and principles already provided by the KNet Theatro 101 page. Here I want to elaborate on the special aspects of the criminal use of Theatro works and how they connect to the real world and especially also in which criminal ways.
Criminal works are SO FAR ABSOLUTELY INDIFFERENTLY treated by society and ABSOLUTELY MIX AND MINGLE with all general and standard Theatro IN ART SPACE AND PERSON. This means that really ALL THE ART WORLD INCLUDING ALL RELATED FIELDS LIKE MARKETING are absolutely interspersed with Criminal Theatro and THEREFORE CRIMINALITY AND ILLEGAL DOINGS INCLUDING ALSO GOVERNMENT AND STATE OFFICIALS from around the world.
Note that in general – whenever it is also in question whether there is a criminal intent or not – THERE IS ALWAYS A NEGATIVE ASPECT to it that IS TO THE DETRIMENT OF SOMETHING/SOMEONE ELSE and/or TO THE FAVOR OF THE ARTIST HIMSELF OR A IN SOME WAY RELATED PERSON BUT UNRIGHTFULLY SO – so to repeat: on the basis of a lie or fraud of some kind someone is criminally detrimental to something/someone to the favor of himself/someone else entirely. Most often at least the extra person will be in some way related but this can be a network effect too – so it could be that the person graph distance is 2+ and the relationship could be ephemeral/highly secret and therefore not even be noted officially or at all.
This very basic idea gives rise to the major core workings and ways of Criminal Theatro. Note that so far I can roughly say that on mass market platforms the criminal intent percentage is about 10%-30% while on special interest (but still public) release platforms that percentage can go up to 80% and even almost 100%. If you look at the number of art releases in the last decades – and that number has enormously skyrocketed – then imagine how many criminal ventures are getting co-funded and of what magnitudes… If you still believe that this is just a bad apple in the ocean, EAT THIS.
Factually it is not even just a sea of tiny criminals advertising their stolen apples but it is absolutely evident that especially the well-funded works of art are supported BECAUSE THEY HAVE AN IMPORTANT INOFFOCIAL REASON that is IN PART CRIMINAL OR EVEN TERRORISTIC. So it is actually exactly the oppositive as the criminal elements are willing and able to spend more on good Theatro standing and their works than other networks/groups or organisations that rely on more official pathways to get done what they want or need. CHOKE ON THIS!
Actually the WHOLE ARTSPACE WORLDWIDE has to be understood as an ETHER IN WHICH ALL ELEMENTS INCLUDING ALL CRIMINAL ONES PRESENT THEMSELVES AND THEIR DOINGS WHILE WANTING TO MAKE THE MOST OF IT FOR THEMSELVES.
Core Principles of Crimnial Theatro
Advertising of Criminal Intent and Activities
One of the oldest and simplest forms. An inofficial activity illegal is advertised to lure new people in and gain more traction in society. The difference to normal marketing often is that these works of art are in themselves not totally clean as perhaps the official reason for the intended actions given are presented as good but still the art shows clear signs of shadiness/dirtiness/negative elements – even though not in dominant form. One way of doing so is the classical PRINCIPLE OF INVERSION. As it is necessary to SHOW THE NEGATIVE AS POSITIVE the inversion principle is spread out through greater parts of the artspace and one will encounter inversion plays in criminal art way more often than in clean artworks. THE PRINCIPLE OF INVERSION IS ABSOLUTELY VITAL TO UNDERSTAND. The inversion mechanism is a safety mechanism that is used for all varities of Criminal Theatro and for all kinds of masking/schitsling reasons.
The Re-Correction of Official and/or Inofficial Knowledge
Note that “correction” simply means the “overwriting” of in some way dispersed knowledge. This is one of the most wide spread basic mechanisms that is also referred to as “SCHITSLING”. “TO SCHITSEL”, coming from schizophrenic, means to put an audience into a “reality spin” by providing contradictory information AND/OR simply feeding WRONG FACTS so that everyone believes the presented and not other facts regardless of whether or not related knowledge had been presented before. Note there is a subtle difference. Also classical make-belief of presenting under pretense a different reality is part of schitsling. These ways work usually hand in hand and the difference mainly depends on the target audience but also finds subtle but existing DIFFERENCES IN EXPRESSION. “Reality spinning” can e.g. also often overlap with “cross-art referencing” as another work of art is in some way included in the context but then e.g. “corrected” – like saying “in reality it was us!”. As art in its core is all about informational symbolic exchange it is not surprising that the informational aspect STILL remains key for criminal works.
The Fake-Placing of Someone Instead of Someone Else
This also includes classical IMPOSTORING. This is actually a special case of the “overschitsling” mechanisms but has its own ways of expression and IS ALSO ESPECIALLY NOWADAYS one of the MOST COMMON CASES in Criminal Theatro. This stems from the fact that for inoffical ventures of all kinds the “tendering” process is also inofficial and anyone can present themselves as someone or something (e.g. role) that is not oneself truly. This often uses both principles of advertising+overschitsling to make other people WANT AND TAKE the presented people/groups instead of someone or something else.
The Planning of Criminal Activities
As Criminal Theatro is so useful for all criminal activities it is of course from the start so and ALREADY useful for the planning of such activities and EVEN UP TO ULTRA HIGH CRIMINALITY as the Criminal Theatro practices are absolutely not condoned by anyone and indirect exchange is safely possible – while even still intermingling with the standard art crowd and related society. What makes these kinds of works special is THAT OFTEN THEY ARE FOUND IN BAD OR LESSER KNOWN PRODUCTS AND RELEASE PLATFORMS. The point is that those who are planning e.g. terroristic activities DO NOT WANT TO BE DISCOVERED so easily in the artspace WHILE STILL ENABLING DISCOVERY BY INTENT OR MANUAL HANDOUT while still RETAINING COVER. Easy to see how this can come in handy when wanting blow up two major skyscrapers over in the USA. These artworks often have a more distinct smell and the presentation aspect is usually less important while still pointing at the META-FRAME. Basically these products are EMPTY PACKAGES MAINLY POINTING TOWARDS THE META-FRAME = REAL WORLD GOAL. More well done planning products can of course also exist but the point is that this is absolutely not necessary and even more risky so will less often be the case than low-end products. The quality of the products may though increase over time correlating with the projects overall progress and security. So if such a group releases a more high profile artwork it is a sign that the goal either is almost reached or the mission is already accomplished. This always correlates inversely with the potential risk of being caught.
Combinatorial Aspects
Many works of art – especially multi-piece artworks and art-in-motion art will contain MANY IF NOT ALL of the above named principles as a criminal package. Often larger/expensive entertainment products are ALSO in Theatro methodology more complicated things as THEY ARE MIXTURES. The exact mixture and style used to combine the different principles CAN give important hints towards WHAT AND HOW the artist and related people want to achieve. Also, the SMELL-iness of these products is higher because they are comprised out of many more choices that give away more about the artists and intentions behind the artwork/product. This requires a bit more expertise certainly but over time one will certainly find out that certain combinations are more likely to correlate with a certain group or CRIMINAL NETWORK than with others. Then one HAS FOUND THE SMELL of it, so to say, and if one understands it well enough one CAN even build a standard heuristical model out of it.
Gauging the Involved Elements / Criminal Networks
The SMELL of the artworks is a good basis to start looking for the total network and what they are working on IN TOTAL. Note that the META-FRAMES built up ACROSS ALL CRIMINAL NETWORK RELATED ARTWORKS/PRODUCTS can tell you A LOT about their INTENTION, WAYS, ORIGIN, INVOLVED PEOPLE AND EVEN LOCATIONS. Note though THAT ALSO TRAP INFORMATION CAN BE INCLUDED, so the better one can TRIANGULATE A PIECE OF INFORMATION ALSO FROM ANOTHER SOURCE THE MORE CERTAIN IT IS THAT IT IS CORRECT – MEANING THAT IF also Group B and C mention that in LocationXY is a secret cave in addition to Group A then there is a better and up to dead-certain chance that there is something true about it. Remember: USING ONE SINGLE SOURCE IS NEVER ENOUGH EVEN IF THERE ARE MANY ARTWORKS/PRODUCTS COMING FROM IT.
Then once one has successfully done that one can start tracing the STAFF OF THE ARTWORKS/PRODUCTS using the CREDITS and can then even ACROSS ARTWORKS/PRODUCTS start building a personal and product/company relationship graph THAT CAN TELL YOU EVEN EXACTLY WHO HAD BEEN INVOLVED IN WHAT IF YOU COMBINE IT ALSO WITH THE META-FRAME/FRAMES OF THE ARTWORKS/PRODUCTS. Then e.g. you find out that Max Mustermann LeGrande was in bed with Barack Obama and helped him co-plan 9/11 because Obama wanted another Big Banana. That would not even be a weird case – I can reassure you…
So at the end YOU HACE A FACTUAL PIECE OF REALITIES IN YOUR HOPEFULLY NOT YET GODFORSAKEN HANDS including facts about people and how they relate to each other for real AND IN SYMBOLISM also to what.
NOTE THAT THIS IS EXACTLY HOW THE ARTS ARE REALLY REAL.
The Problem of Resolution
Now on to the really really big problem that one encounters when one OFFICIALLY wants to resolve a situation that STEMS OUT OF THE INOFFICIAL WAYS THAT INCLUDE THEATRO. Note that ALL CASES ARE ESPECIALLY HARD AS IT IS OFFICIALLY QUASI-FORBIDDEN TO USE THEATRO ARTWORKS AS PARTIAL EVIDENCE PLUS MOST FOLKS ARE TRAINED TOWARDS DENYING THE RELEVANCE OF ALL ART ENTIRELY.
This is the general case OF A SOCIETY LIVING IN DENIAL OF ITSELF TO INTENTIONALLY SHIFT ALL ACTION TOWARDS THE INOFFICIAL SPACE OF ILLEGALITY AND CRIMINALITY.
Welcome to the West and welcome to our entire planet.
The Grand Insane Case
Imagine the “royal secrets” case – where a painter paints paintings about secrets doings of the King – IF there is any difference to a modern standard Theatro case at all then it is in the actually CRIMINAL INTENT of the work or THE LACK OF IT. But just imagine that the person who created the “royal secrets” actually had the intention to extort the King for his own benefit. THEN the painter of the “royal secrets” had at least the exactly same intentions as any modern Criminal Theatrist.
Be aware though too that e.g. it could also be that the painter wanted to highlight the King’s evil doings for the better of the people – so actually NOT SIMPLY a criminal intent – but STILL TO THE DETRIMENT OF THE KING. So even though a Robin Hood like intention could be found, the King still has the right to label that work as POTENTIALLY criminal since it threatens him. Then one could at most start discussing why the paintings actually HAVE BECOME so relevant and WHETHER the content included is worth further investigation or not.
But note that as soon as this conflict arises all involved parties HAVE TO DEAL WITH AMBIGUITIES and of course ensue will always MANY, COUNTLESS AND ENDLESS DENIALS. The artist will – when threatened especially – deny the paintings have any such meaning while the King will deny that any such activities had ever taken place or that he even has no clue at all what the painter is trying to say. Therefore a POTENTIALLY HUGE EPHEMERAL BUBBLE ensues as e.g. everyone keeps on denying everything and nothing specific is ever said. All involved parties, unless deciding upon the investigation of the paintings because they had stirred interest, will never officially come to any conclusion but go on with whatever they did and perhaps will try to RESOLVE THE CONFLICT INOFFICIALLY. Note that this can be A HUGE DANGER EVEN TO ALL OF SOCIETY as this is based on the EPHEMERAL BUBBLE opened by the clash of the different official and inofficial realities and that this can UTMOST EASILY lead to HIGHLY NEGATIVE effects based upon ABSOLUTELY EPHEMERAL NON-KNOWLEDGE. If further on such an INOFFICIAL CONFLICT IS ALLOWED TO GROW then the potential consequences can be ALL ENCOMPASSING AT THE END because absolutely no limits or barriers are introduced AS ALL OF ITS WORKINGS ARE INOFFICIAL. Such a NEGATIVE SPIRAL HAS TO BE CONSCIOUSLY STOPPED or it will simply go on. The additional problem is that ONCE A CONFLICT REACHES A THRESHOLD IT CAN TURN INTO A REAL WAR – EVEN AN INOFFICIAL BUT REAL WAR. The latter case is even the more dangerous one as it means that the inofficial amount of butchering and harmful/lethal criminality is on the rise WHILE STILL NO ONE IS ADMITTING TO IT.
Note that this GRAND CASE OF INSANITY CAN ONLY BE RESOLVED WITH UTMOST DECISIVENESS.
ONLY with PROPER INVESTIGATION can a solution be found. Note that this can be HIGHLIEST DANGEROUS for the ones carrying out the investigations as they will be in the CENTER OF ATTENTION of all warring factions. Without a secure and proper security solution such venture is almost 100% likely to end lethal depending on the size of the bubble.
SO WITHOUT A PROPER “CEASE FIRE” THE CHANCE THAT ANY MEDIATION EFFORT WILL SUCCEED IS ALMOST 0% AS ALL PARTIES WILL SIMPLY BE UNWILLING TO STOP THE INSANITY THAT HAD BEGUN.
So even if the best investigator in the world comes up with all facts clearly it may simply be ALREADY TOO LATE FOR ANYTHING BUT A FORCEFUL RESOLUTION.
Then just like with a FINANCIAL BUBBLE one can only WAIT UNTIL THE BUBBLE BURSTS with ALL NEGATIVE CONSEQUENCES ATTACHED.
I can even utmost reassure you THAT EXACTLY SUCH EPHEMERAL BUBBLES ARE LARGELY TO BLAME FOR HUMANKIND’S REPEATED UPS AND DOWNS OF HISTORY AND OF MODERN AGE. And still they went on and on until nothing but a BIG BOOM COULD ENSUE AND IT DID ENSUE reads like a standard phrase out of eternal human history.
Smaller Cases of Less Insanity
In smaller cases the resolutions of such conflicts ARE ONLY IN THEORY POSSIBLE AS ALL THE JUDICIAL APPARATUS ALSO LIVES COMPLETE DENIAL FOR THE INOFFICIAL REALMS.
BUT IN THEORY AND PRACTICE IT IS ABSOLUTELY DOABLE TO COME TO A 100% CERTAIN CONCLUSION. THE PROBLEM IS THAT COURTS WILL SIMPLY NOT ACCEPT ANY REASONING AT ALL. THAT IS THE STATUS-QUO IN WESTERN AND ALL OF HUMAN SOCIETY.
EVERYONE ONLY IS LEFT WITH THE INOFFICIAL WAYS TO RESOLVE ANY SUCH SITUATION ON ANY SCALE OF LIFE ANYTIME AND EVERYWHERE.
THE WORLD IS A SAD AND INSANE STATE OF AFFAIRS.
Welcome to the cage we live in.
Kralizec.net 