I will be elaborating this con job that Fabio Vighi — Shitzek’s golem, clearly scripted by him, with all the textual ticks and scummy habits of sophistry that mark the Master— is prosecuting, in connection with a much more dignified (and seemingly more dangerous, but who knows — as Shitzek himself shows, the clowns do all the damage these days) Yanis Varoufakis, in league with The Squad and the MMT mountebanks of academia and the bizpress. But first, as preface, I will be posting the transcripts, oh so kindly and generously provided by our comrade @OffVesta, of some audios I did about the Vighi con.
Transcript of Audio #1
So, Vighi and this stage of the ruling class program I'm calling the siege.
We have to understand it as the final ... It's the effort to finish the class war by winning it, by finally enclosing the cosmos, all of everything that exists, and completely dispossessing humanity of control over, access to, claims on, participation in, the entirety of the cosmos and earth and everything that exists. Including ourselves, so including, you know, they occupied our cells with their injections and everything. And air. You know, everything. Oxygen, your lungs oxygenating. All these things have been enclosed, seized, by the ruling class, sometimes officially tyrannically by the state, but a lot of it proceeded directly with the direct private tyrannies of property and ruling class actions.
Okay, so Vighi. First, everyone should read T. Mohr's article in a thing called Magma Magazin. That's on the web, magma-magazin.su. The article is "Does Fabio Vighi Bring Anything to the Table." And I've always substacked about this in a kind of fragmented way, as I do my blogs and Substacks, because I just get so anxious these days trying to write long-form things. I have an idea, I want to put it out there, and so little by little, my arguments build. But that is the Red Kahina Substack. I've dealt with Vighi also a lot on Twitter. You could search this, but I'm shadowbanned and search banned or whatever, so it's easier to go to the Substack, and you can find a lot of the links to the Twitter comments and long threads and stuff. But you're not going to need it, because I'm going to explain it all now.
So, Vighi. He's been invited to the group that used to call themselves Lefty Lockdown Skeptics, who now call themselves The Real Left. They had a conference today, Saturday, in London, where they invited him, and no one else. They didn't invite anyone with any knowledge at all of finance and banking, or of anything. He knows nothing about anything. He's the ... Okay, anyway.
I think a lot of people, though, to not sound like I'm trying to slam everyone ... And I'm not trying to slam everyone. I see exactly what he's doing. He's a conman like Zizek. A lot of people have read his stuff, and not his initial ... His initial article that was right out of the box was taking up the exact same propaganda fake left analysis of the COVID mania or the plague program as Zizek himself, his sponsor, which was a type of Orientalist, Boy's Own Adventure phantasmagoria from, like, the opening of Planet of the Apes or whatever, where they speak very vaguely and use all kinds of psychoanalytic jargon as a kind of shuttle to move between their literal statements and sort of fantasy storytelling, where they say, "Oh, you know, a death plague, a deadly substance, a thing, this virus, this flying death, is ..." They treat it as something like in a science fiction, that it's the literal revenge of nature and a metaphor for the revenge of nature that capitalism has somehow unleashed. And then there's gestures to something sort of materialisty, pseudo-materialistic, pseudo-concrete, pseudo-scientific, that you know, the over-exploitation ... They went into the dark jungle, and some hubristic thing they thought they could do, or some carelessness, or throwing garbage around, or leaving a cigarette butt burning, they unleashed something new and deadly that in nature, et cetera, this kind of ...
So it's a familiar fantasy. You know what I'm talking about. We've all seen movies like that and read books like that, that is about this fundamental idea that the over-rational and science-oriented imperial - you know, if it's leftoid, it's an imperial project - has gotten too big for its britches, and in its quest to dominate nature it has provoked a terrible response. It's sort of blowback. Same narrative as the "blowback" which Grayzone likes so much about terrorism, except this time it's nature. It's nature that's the terrorist. And the virus, the so-called virus, the imaged plague, was treated as a terrorist, and it was fit right into the War on Terror narratives in the sense that there was no politics that was valid in the face of it. It was the negation of everything, of God, of Man, of the world, and it had to be fought at any cost because the thing is, we can't let that motherfucker get away with killing even one person.
So the idea was that it was a false version, it was a fantasy, of the kind of real commitments and real struggles that humanity has had to face since class began, that the liberation of humanity is an objective that would justify a great deal of sacrifice, because it's forever, right? It's almost like gaining heaven back, right? Or that's the way it's distorted in theology. You know, there's something really to be gained. And then the flip side of that is there's a Devil that simply cannot be allowed to exist, and it doesn't matter how much is sacrificed to the vengeance, or even to sending a message, to this Voldemort. The versions that we're getting, what once was Satan, who had a certain grandeur, now it's Voldemort, or things from Harry Potter and these commercialized narratives and pseudo-narratives and narratemes, et cetera.
So, Vighi's first intervention was that story that Zizek gave. The implication they were trying to put across, to put in your mind, to put in the mind of the reader, a solution that they hint at and they construct before your eyes, but only obliquely, that they don't come out and say, "Well, this is what we need to do," that was supposed to incite in the readers a desire for fascism, for something that would ... You know, the moral reform of the ruling class, where it would be virile again, but also moral, that a nobility would be reinfused in the ruling class by its moral reform, and it would have to ... Because now, the chaos that it's created, its job is to put the chaos back in the bottle.
So on the one hand, you've satisfied and titillated people with the Sorcerer's Apprentice story, and on the other, it left humanity so helpless in the face of this that it's supposed to be resolved with some kind of identification with the Fuhrer. Or Caesaristic identification is what Franz Neumann, the one Frankfurt Schooler that people don't like to talk about, except for Benjamin, who was actually kind of a lefty, or actually a communist with a communist past ... Caesaristic identifications he called them, you know, sort of fascist formations. Of course, like all the Frankfurt School, he exaggerated of the participation of the working class in these movements, which was almost zero, right? They were just mostly the enemy under attack. But you know, middling strains, and some workers, and now more ... In the US you have these right-wing projects attaching, in a loose way, in a almost purely psychological way, but attaching more of the working class, for obvious reasons.
So anyway, so it entertains you in these two ways, this kind of pseudo-critique, pseudo-response, pseudo-response offered as left, as being anti-capitalist or whatever. It entertains you in these two ways, and you could personalize it, because they're both sort of implied more than anything else. You're not instructed about what the point of the story is. You're not required to accept a slogan, only the storytelling elements, the Sorcerer's Apprentice and the fascist answer. And then it moves you into this longing that is designed by what you have now envisioned the problem as. That's the way these things work. They get you to picture your solutions by presenting you with an imaginary fantasy version of the actual problem. That's the point.
The thing is that it failed miserably, this version of the ... The sort of wet Social Democrats who were interpolated into the COVID hysteria didn't like it. And then the dissidents just didn't buy it at all, were appalled by it. You know, it just sounded stupid. It didn't satisfy their longings to understand what had happened. It was false. It was full of really crank revived Orientalist structures of storytelling. It needed them, couldn't function without this idea of the explorer going into the jungle and releasing some poison from somewhere. And also, they didn't know how to bring China into the story, where it started, the whole lockdown story and all this stuff. So it failed.
Zizek, however, couldn't be moved off this structure, off this platform, the story that he had built for himself, because he was too famous. So you know, he famously delivered this, and then he had his flying monkeys delivering it at the same time. And one of them, this Fabio Vighi, was completely unknown. So when his little gang, Zizek himself and whoever his team are, when they saw how the first thing failed so bad, they went to social media to see what we were doing, what the real analysis is that was successful in the sense of making sense of it to people, and they decided to masperize it, to offer a cuckoo's egg version, a false version that would lead people to have the same response. They want to maneuver people into this fascistic mindset, but they would have to take them on a different narrative path, because the thing that they offered flopped, for whatever reason.
I mean, there were a couple people, these funny sites, magazines, like Philosophical Salon or whatever ... I want to talk about that Gabriel Rockhill guy. He's an interesting fake. But there were a couple groups that were attracted to ... I think they were all fake, actually. I don't think it had any success with an actual real person, with no preconceived ideas and not being paid and not being wrangled, who just confronted these explanations, these long stories that they were telling, of the Sorcerer's Apprentice that they used both in the ... That's the other thing. They sort of went overboard in using the Sorcerer's Apprentice story for the finance ... They were holding that for later. But they'd used it before, but it was going to come back. And using it now for a biological story, for biological content and a concrete explanation of biological events. And that was just a little awkward, that they decided to roll out the same formula for these things right next to each other in a way that it began to be obvious that they were relying on a formula, sort of a little everything looks like a nail because that was their hammer.
So anyway, it failed, and they decided instead that they had to come up with a fake thing of us, that they had to come up with a cuckoo's egg, something that looked like us, smelled like us, looked like the truth, absorbed more of the truth of the plan that was actually being unleashed, but was modified in these key ways so that it would still tend to manipulate the readers and the audience toward a despairing sort of fascist hope, you know, what hieropunk calls copium. She's not the only person. But cope, copium, these dreams, these ways of thinking of things that allow you to remain passive without self-loathing and despair.