Phil's Philosophy

Mind Meanderings of an Alchemist

Contents

On its most fundamental level, you cannot understand the decadence and corruption of society without understanding the pathology of the human mind. But it’s not just the diseased mind that needs to be scrutinized, the frail mind needs to be examined as well because the latter lacks the fortitude and immunity to resist the dominance and tyranny of the former.

~Additions~

2014-06-07:

The Toxic Legacy of Machiavelli’s The Prince

2014-05-01:

Criticism of Søren Kierkegaard’s Phrase: Once You Label Me, You Negate Me…

2011-05-26:

What is the Purpose of Demons?

2011-05-18:

Anatomy of Narcissism v1.0

2011-01-20:

Musings on the Purpose of Death

2010-08-15:

Introducing Three Degrees of Evil

2010-07-06:

Musings on Atheism, Religion and God

2010-04-01:

Would God Condone Attempts to Root Out Evil with the Sword?

2010-02-8:

Musings on Free Will – Letter to Prof. Alfred Mele

2010-01-22:

Meet Mr. Ego and Mr. Spirit

 

Adaptive Machiavellianism vs Person-idolatry and Sadism (1/2) – Colonia (2015)

0. Adaptive Machiavellianism vs Person-idolatry and Sadism – Colonia (2015)

My thanks goes out to director Florian Gallenberger; script-writers Torsten Wenzel, Florian Gallenberger, Tom Kinninmont; actors Emma Watson, Daniel Brühl, Michael Nyqvist, Richenda Carey, Vicky Krieps, Jeanne Werner and all other people who worked to make this film a reality.

I also want to thank all other people who made the distribution of this film possible, either through legal channels or not so legal (bittorrent — don’t know where I would be without it).

In order to understand my analysis, if you haven’t already, you will first need to read my treatise on Idolatry Theory, accessible here.

1.Introduction — Socialist Paradise Lost

Santiago de Chile, 1973. Political riots have been destabilizing the entire country. Chile has become the latest battleground of the Cold War with the United States turning its back on the young democracy. Meanwhile, the Soviet Union guarantees its support. The US government says Salvador Allende is nothing but a communist who needs to be kicked out from office. Hundreds of thousands of people are taking to the streets of Santiago de Chile in support of president Salvador Allende. Experts see Chile at the verge of a civil war. The world is holding its breath as we wait for the latest developments in Chile.

After landing in Chile at day-time, a pretty German stewardess named Lena Kortus meets with her boyfriend, a fellow German and pro-Allende political activist named Daniel List, who migrated to Chile a while ago and is currently working for the university of Santiago. That evening, Daniel takes Lena to a socialist gathering where he is seemingly spontaneously invited to speak. Upon getting up on stage, he tells the crowd how much he has grown to feel at home in Chile while doing his part trying to advance the socialist cause of the nation.

That socialist cause, however, would have to be put on hold, as would their spending time together for romancing and frolicking around like two regular lovebirds, because in the morning of already the very next day, Daniel receives word by telephone that Augusto Pinochet has taken over control of the country, by way of a military coup d’etat. Recognizing the dire sudden emergency of the new political situation they find themselves already up to their eyeballs in, at his urging, they both promptly flee his apartment because the new regime has already started to arrest and detain Allende supporters.

Tentatively emerging from the apartment building into the street, they immediately notice the occupying hostile presence of Pinochet’s military everywhere around them, chasing and arresting large numbers of citizens. Almost by seeming instinct, Daniel pulls out his handheld camera; and starts taking pictures of the wanton abuse of power and the ongoing hectic scenery conjured up in the street, which unfortunately soon attracts the attention of that same military. In a matter of minutes, both are arrested and especially Daniel was manhandled along the way.

When they together with numerous others are brought to Santiago’s National Stadium, confiscated and repurposed for hosting long scores of supposed troublemakers stacked in rows across the field, a hooded confederate of the Pinochet regime recognizes and identifies Daniel as an Allende sympathizer. The German socialist is readily shipped off to for now an unknown location. A suddenly bereft and shocked Lena is released, however; but when returning to Daniel’s apartment, finds it has been tossed upside down and turned into a mess. It’s obvious who were responsible for these brutal acts of trespassing, vandalism and all other instances of violation of privacy that belong to having your apartment raided and trashed by agents of the authorities (only insisting on being meticulous and thorough to the paranoid tee in the administration of their newfound if usurped governing power of the invasive, intrusive and terribly upsetting kind, decidedly UNcivil).

Looking for help, Lena secretly meets with Daniel’s fellow activists who have since gone underground. One of them, Jorge, tells her that Daniel has been brought to a place down south of the country. Completely cut off from the outside world, it concerns a destination called Colonia Dignidad (the Colony of Dignity), a cordoned-off and secluded considerable patch of land having a central settlement which has a secret underground where Pinochet has his secret police take prisoners. Rather than be willing to help Lena getting Daniel out into safety, regretfully, Jorge dryly informs her that the cause for which they all are fighting, the socialist cause of Chile, would be bigger and more important than the well-being of any of its individual members (a dubious theme of offhanded human disposability which socialist putative heroes like Communist leaders Stalin and Mao — worshiping the socialist ideology and its favored governmental implementation (the State is God) —  must have been quite familiar with, courtesy of the crimson-red Gulag systems they oversaw; where countless veritable if abstract human sacrifices were offered in service of the transcendental yet ruthless Communist State); and that therefore she basically is on her own — wishing her luck, turns out the best he can do.

Working on behalf of Amnesty International, a man called Biedermann gives her some useful information about Colonia Dignidad but altogether does so in hush-hush secret fashion because, according to him, his office is being bugged and monitored by agents of Pinochet. He furtively tells her that it appears — on the surface — to concern a charitable mission. But really it’s a kind of cult, run by a man called Paul Schaefer, or Pius as they call him. He was a lay preacher in Germany after the war, came here with his disciples to set up a world according to his rules in the middle of nowhere. When she suggests to join up with the ominous cult, Biedermann disadvises her, telling her that it’s a whole lot easier to get in than get out.

Nevertheless, a headstrong Lena is undeterred. She dresses herself in what appears to be traditionally German Christian an apparel (albeit somewhat dated, probably pre-WWII) and sends what presumably is a telegram to Roman, a pilot and colleague at work, cryptically notifying him that she’ll be away for a few days to tend to business, evidently of unforeseen yet urgent a nature: Dear Roman, you must be standing in the lobby now, ready to leave for the airport, but I won’t be coming. I’m sorry. Crazy things are happening here, and sometimes you have to break the rules. Isn’t that what you told me? Can you cover for me, please Roman? I’ll be on next week’s flight. And wish me luck. Love, Lena. When he receives her message and reads it out loud in front of his crew – a number of stewardesses, Roman is sure to back up his friend by launching a little feat of deception on his own (not accounted for in this analysis), misleadingly informing his crew – which is also her crew: Lena’s not coming. She’s ill. She’ll be on the flight next week.

After traveling by bus down south, Lena arrives at what seems like the bus-stop closest to her destination and sets out to bridge the remaining distance on foot.

2. Day One — Getting a Taste of Cultic Communal Living

After walking an undisclosed amount of time, Lena enters the woods and eventually comes across a large area enclosed by a huge barbed-wired fence, having at least one watch-post fitted out with a flood light; and as such gives the enclosure as a whole the appearance of being some kind of concentration camp (perhaps not so surprising considering that it was founded by a former Nazi).

While walking along the outer perimeter, she stumbles on what appears to be the regular entrance. Seemingly after having been alerted by someone keeping an eye out in that watch-tower, an older woman named Gisela is quick to receive Lena, readily letting her in. That was easy — so far so good. As they walk toward the building area in the center of the site, Gisela and Lena exchange a few words, exactly just a few words:

Gisela: You wish to join us?
Lena: Yes, ma’am. I want to follow the way of the Lord.({2.1})
Gisela: Don’t babble. The Lord doesn’t like idle talk. A simple yes will suffice.({2.2})

Lena is lying and Gisela is prejudging her in return (although not for Lena lying to her). The infractions may be described by the following two scripts. Unlike for Gisela’s case, however, in order to save myself from having to time-and-again rehash the same moral arguments, I will write out a more generic stage three discussion for Lena’s, which will be more-or-less applicable for all of the infractions committed by her while moving around undercover in the camp for the entire duration that she’s there. The same goes for Daniel, who will make his re-entry a bit later on in the story.

({2.1| i. Psychic Abuse of the Deception kind: Level = Moral Error; Perp = Lena; Victims = Lena&Gisela&God; Audience = Lena&Gisela;

1. Incoming-stage: Lena initiates the inspiration of an Abstract. . .
{+} God-Pidol: [X] Lena wants to follow my way; [M] I have an eager new apprentice in Lena;
{+} Lena-Pidol: [X] I want to follow the way of the Lord; [M] That’s why I want to join the commune;
{+} Gisela-Pidol: [M] In Lena, I have an eager new addition to the care of the commune;
Abstract Pidols are distributed over Audience;

Lena is promoting a disingenuous image impression of herself: a new apprentice allegedly seeking devotion and service to God — an apparently crucial qualification for joining the commune. Secondly, albeit implicitly, Lena conjures up an image impression of Gisela in which the supervisor is painted as someone who basically may congratulate herself for being presented with such a valuable and eager new communal addition in Lena. Being the precise manipulative objective of her little act of deception, both image impressions are of an unduly flattering nature, hence were furnished with a positive polarity.

Lena casually throws in the name of God to cement her cover, claiming that she is joining up just to serve God. If God would put his omniscience in the freezer for a bit and put on a cloak of sufficient naivety, he{*} would thus have reason to as of that moment have his hopes up, reason to think he is going to have a new spiritual apprentice in Lena. Since this of course is not the case, Lena is effectively bending and twisting the boundaries of truth so as to accommodate an undue picture of God as someone who may welcome one more eager new devotee to his spiritual flock; thus her Pidol of God is likewise given a positive polarity.

2. Scene of Immorality-stage: Lena initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Lena-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Victims/ – Using Verbality&Name&Body/;
{}|{+} Lena-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Lena/ to [Lie | Speak Truthfully] to Audience/ about Victims/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Lena/ [Lying | Speaking Truthfully] about Victims/ – Using Verbality&Name&Body/;
{}|{+} Lena&Gisela(&God)-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Lena/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the other, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

Note that God does not have a PrimePidol (having no physical body like us humans do) and so does not contribute to the concrete manifestation of the Scene of Immorality (although he no doubt has a most crisp and complete understanding of every particular detail making up this Concrete Scene, and every other possible Concrete Scene too for that matter, courtesy of his omniscience). Note, however, that God does have a representation in the Abstract Scene. 

In summary, qualitatively, Lena incurs authentic guilt toward everyone whom she involves in her act of Deception — God, more so toward Gisela and especially toward Lena herself;

3. In terms of actualization, all throughout her stay in the commune, Lena is presumed to be aware of engaging in (virtually perpetual) deception due to what to her is its instrumental function, serving her ultimate goal of finding and liberating Daniel. As such, although she may not take pride in it, and hopefully she doesn’t, Lena will nevertheless see herself justified in lying to the people in the commune, Gisela in this case, to the extent that it serves said goal at least. Lena would then be actualizing by accuracy the practices due to her deception, i.e. accepting and adopting as being valid and just the Pidols due to the accurate offense-interpretation that may be said to be released in stage two (where it should be noted that, as a general rule, the PrimePidols of the actors actively involved in dynamically defining the Concrete Scene — Lena and Gisela in this case — are represented in her mind as perceptual derivatives).

On the other hand, consistent with the private goal she is pursuing, the people in the commune are presumed to remain unaware of the fact that Lena is deceiving them (around the clock) and so they would then be actualizing Lena’s practices by euphemism, i.e. accepting and adopting as being valid and just the Pidols which may be said to be released in stage one, as well as the Pidols of stage two assuming now the euphemistic offense-interpretation.

In terms of conscience, while Lena obviously is not acting out of love and care for the people in the commune by so blatantly trying to deceive them (time and again), trying to lead them astray from the absolute truth and therefore absolute sanity of mind (over and over again), she shows to nevertheless be guided by a transcending love for Daniel: her main objective being to reunite with Daniel and get him out into safety (and into her arms again). Although she fails to treat the people of the commune with strict Golden Rule-compliance, such has been made well-nigh impossible due to the unavoidably oppressive and perilous circumstances which Lena has to deal with, ones that make freedom of movement and being sincere simply impossible.

Her love for Daniel and the evident impossibility for using fair play to get him out in one piece, leaves Lena having no other choice but to suspend Golden Rule-compliance in the general ways with which she relates to the people in the commune. Instead, she is compelled to use deception to rescue Daniel (and herself while doing so). In that sense, it may be fair to infer that at least for as long as she is in the commune, Lena would be guided by an inauthentic conscience devoted to the paramount task of avoiding the shame of detection — thus engaging in a thematic practice of Shame-avoiding Self-idolatry; as well as pursuing the paramount goal of finding Daniel and getting out of the settlement together alive and well — thus engaging in a thematic practice of what might be called Goal-tending Self-idolatry, in that she effectively idolizes the goal of liberation she has set for herself (and keeps to herself). Assuming she is thoroughly committed, Lena would then be willing to do “anything”, sacrifice “anything” (within reasonable limits), just so long as it enables her to keep flying under the radars of detection while putting a deliberate but stealthy yet restless eye out for Daniel.

Relative to her inauthentic conscience linked up with her embraced twin thematic practice of Shame-avoiding and Goal-tending Self-idolatry, an action could be deemed of a good nature is it enables her to avoid the shame of detection, and or if it furthers her cherished goal of personal liberation; an action is considered bad to her if it facilitates or, worse, brings about the shame of her detection, and or if it poses an obstruction of some kind on her way to attain her secret and idolized goal of personal liberation.

In case you find the notion of idolizing goals awkward, then consider the hypothetical extreme alternative scenario in which Lena was not a brave stewardess intent on getting her boyfriend out of the crooked commune using almost nothing but non-violent guile, but instead imagine her to be a highly trained – superbly disciplined and equally ruthless Special Forces member. The idolatrous nature of the way she then were to relate to her goal is brought out more dramatically if she would now be going into the commune pur sang Commando-style; blasting her way right in, leaving behind a big hole where once the entrance was, then grenades flying around left and right in no time, having no compunction at all to set out and kill without flinching however many armed (or not) adversaries would be on-the-fly deemed necessary to attain her militarily-boosted all-important goal of retrieving Daniel; and when she does (and doing so she will), only to brutally yank the guy back into safety — cost what bloody may.

Imagine such a hypothetical militarized Lena — brandishing guns and grenades galore, camouflage colors on the face, clenching one of those bowie-knives between her jaws, the whole bloody nine yards. Now, all the people that she would go on either shooting or stabbing to death or blowing to smithereens, may be considered sure human sacrifices. It may thus be imagined in a metaphoric sense that, through conducting her gung-ho blood-and-guts military operation, she went to spill all those countless gallons of her victims’ blood on the symbolic altar catering to her military-caliber kind of thematic practice of Goal-tending Self-idolatry

By the way, this hypothetical argument should not be counted as a general critique of the military on my part. Although I am largely a pacifist in the sense of being generally opposed to war, I do recognize the contingency of the use of military force under special compelling circumstances, but only so when they constitute a last resort (when other proverbial cheeks can no longer be turned) — relevant in social contexts of (dire) emergency.

In terms of sacrifice, all for the purpose of infiltrating the commune and reuniting with Daniel, Lena shows willingness to sacrifice (on her dual imaginary altar catering to Shame-avoiding Self-idolatry and Goal-tending Self-idolatry) some of the mental sanity belonging to all those souls, including Gisela in this case, whom she is trying to make believe the instrumental fantasy that they are only dealing with an entirely innocent and sincere devotee of Pius (and God). As such, Lena will be incurring a steadily increasing load of authentic guilt toward in principle every communal soul (and technically also God). As a result, she naturally stands to find it increasingly necessary to move around in the commune with an ever lighter tread, having to be on her toes a little bit more every time she resorts to deception to keep up her cover and avoid detection while persistently keep looking out for Daniel, a loss of peace of mind on her part that is due to progressively having to anticipate reproach or reprimand, the unavoidable consequence of “getting caught”, by anyone from the people she subjects to relentlessly cumulative deception.

{*} Note that I represent God in traditionally masculine form, boldly asserting along the way that God’s preferred pronouns are: he/him. I do not do so to spite feminists or other “progressive” folks who insist upon God being feminine (or gender-neutral or even transsexual or what have you nowadays going around); I do so for ease of reference and because I view God as a father, not as a mother, although such choice on my part is obviously subjective and therefore, I suppose, debatable — not unlike how yesteryear’s academia used to waste time arguing how many angels were to fit on the tip of a needle, and all that intellectually vacant – hysterically superficial and all-round sterile bollocks. |2.1})

({2.2| i. Psychic Abuse of the Prejudgment with Counterfeiting God’s Authority kind: Level = Moral Error; Perp = Gisela; Victims = Lena&God&Gisela; Audience = Gisela&Lena;

1. Incoming-stage: Gisela initiates the inspiration of an Abstract. . .
{} Lena-Pidol: [X] I am engaged in “idle talk”; [M] Am worse than those who do not stoop to “idle talk”;
{} God-Pidol: [M] I have authorized Gisela to speak on my behalf; [X] Do not like (what Gisela refers to as) “idle talk”;
{+} Gisela-Pidol: [M] I am authorized to speak on God’s behalf; [M] Am better than those who stoop to “idle talk”;
Rule-pidol: [M] You are not to engage in “idle talk” in the commune, because God does not like “idle talk”;
Abstract Pidols and Rule-pidol are disseminated over Audience;

First off, Gisela takes the wanton liberty to speak on God’s behalf without having any guarantee that she’s authorized to do so. This is the sort of question that anyone should ask themselves before actually going ahead and speaking on God’s behalf or acting on God’s presumed authority. Do not presume to know the mind and will of God. The best you can do is make assessments, but always remain convinced that it is ultimately your opinion; don’t mistake it for a fact. As a meaningful rule of thumb, it is always good advice to compare what you intend to do with what Jesus–according to be Bible–called the Greatest Commandment. Always ask yourself if what you are about to do is consistent with the two Chief Moral Rules. Because if it isn’t, it is a pretty safe bet that God would not be onboard with you. The only type of contingency at which Golden Rule-compliance would have to (momentarily) be put on hold and at which it may be expected that God is willing to back you up (at least to some reasonable degree) is: pressing emergency ruling out fair play, the precise sort of context that is relevant in the commune of Colonia Dignidad. 

As such, violating the first Chief Moral Rule and the second, Gisela may be held to account for the spiritual malpractice of Counterfeiting God’s Authority1, an offense which can have arbitrarily severe moral ramifications here on our plane of existence. Trying to seize the reins of power normally held by God is no small potatoes, no negligible laughing matter at all; for when you believe having been granted the right to represent on the earthly plane the Most High God, then nothing can stop you, but death. From that moment onward anything goes, any sacrifice – no matter how costly – can never be deemed too much if God Wills it!

But I’m dwelling. More specifically, by way of speaking on his behalf in a delimiting sense, Gisela seeks to constrict the will of God (whether God likes it or not); and by trying to delimit God (by way of forcing God to align his divinely expansive and arbitrarily elaborate [omniscient] will with Gisela’s human and therefore relatively puny and myopic will), the polarity of her God-based Pidol has been confidently designated negative. After all, who is Gisela to pretend to know that God does not like what Gisela’s refers to as “idle talk”? It is rather presumptuous for Gisela to assert with vain yet absolute certainty that God is with her on this matter. Children, for example, engage in “idle talk” all the time, and so according to Gisela, God to large extent would not like what children are blathering about (which is terribly prejudicial of her). 

In addition, Gisela is implicitly promoting a self-flattering image impression of her own person, implying with evident piety in her heart to be authorized to speak on God’s behalf as well as insinuating to be better (closer to God) than those who do stoop to the offense of “idle talk”.

Furthermore, a rule may be distilled from Gisela’s admission: there is to be no “idle talk” in the commune because God were to frown upon the practice. This rule is considered idolatrous because, by artificially endowing it with such a superseding level of importance, transcending well into the celestial, it serves to outflank and overrule the Golden Rule when it comes to desirable and acceptable social interaction. It’s a sort of rule which promotes unwarranted, excessive and severe curtailing of personal freedom, specifically the kind called freedom of speech. If God supposedly doesn’t like “idle talk”, if the highest imaginable metaphysical authority wouldn’t like the practice, then the rule prohibiting as much must automatically be granted the highest possible degree of compliance and adherence, one which trumps homage to all other possibly competing rules, including by necessity the Golden Rule.

2. Scene of Immorality-stage: Gisela initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Gisela-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Victims/ in front of Audience/ – Using Verbality&Name&Body;
{}|{+} Gisela-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Gisela/ to [Prejudge | Soundly Judge] Victims/ in front of Audience/;
{}|{+} Lena&Gisela(&God)-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Gisela/ in front of Audience/ – Using Verbality&Name&Body/;
Gisela exposes PrimePidol audiovisually to the other, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Gisela incurs authentic guilt toward everyone involved in her act of Prejudgment — God, but more so toward Lena and especially toward Gisela herself;

3. In terms of conscience, on the reasonable basis that Gisela wouldn’t like it herself if–in converse turn–the younger tried to silence the older while the older was in the process of explaining herself, Gisela’s efforts to effectively muzzle Lena are inconsistent with the Golden Rule and are therefore difficult to explain in terms of her authentic conscience; but are more easily understandable relative to an inauthentic conscience devoted to the nonetheless dubious thematic practice of power-seeking. While thirsting for power, while dying to indulge in the thrills and chills of power-play, Gisela, more than anything, arrogates God’s voice in a seeming attempt to lend extraordinary (metaphysical) authority to her statement. By claiming that the Authority of Authorities would not condone Lena engaging in “idle talk”, Gisela implies to hope that Lena is not going to have any leg to stand on should she be even thinking of protesting; the implicit rationale being, who would possibly have the gall to talk back to God?

All the while, no-one is asking God for his opinion on the matter; neither of the two seems to wonder how much God favors Gisela moving to boldly steal his voice, speak on his authority, one that happens to be in an arbitrarily prohibitive manner, even without a seeming care in the world; neither of them shows to bat an eye as to Gisela resolving to Counterfeit God’s Authority for the heedlessly selfish purpose of exercising raw if petty political power of, in this case, a censorious nature. But I get it, Gisela blinds herself through an egosyntonic lust for power, and Lena cannot afford to be critical lest blowing her cover.

In terms of actualization, Gisela probably readily believes her own statement — thus adopting her stage one Pidols and adopting her stage two Pidols while assuming the euphemistic offense-interpretation. In contrast, I sincerely doubt Lena to be on board with her. Indeed, as it happens, it is unclear whether Lena even believes in the existence of God, on account of her either being a socialist or socialist sympathizer (the State stands to take over the role of God, as highest imaginable authority, when God is deemed either dead as Nietzsche had us believe, or altogether merely a figment of religious imagination).

Speaking of the devil, as for God himself, it is doubtful that–what Christians refer to as–The Most High god would be jumping for joy to have Gisela represent him in such an obviously dictatorial and petty way, terribly unflattering. While implicitly flattering herself into high heaven as though being God’s righteous and exalted vicar on earth, Gisela makes the old Chief God out to be a bit of a bully, some kind of insufferably stern metaphysical teacher, forever itching to reproach his inveterately moronic mortal subjects and confine their behavior in ways that–as if by magick–just so happen to fall right in line with Gisela’s own will. I think it’s fair to say that God cannot be bothered being willing, and consistently so, to actualize any idolatry practice (i.e., adopt any Pidol) — if for no other reason than that, if he would, it automatically were to negate the very idea of God being the foremost champion of truth, the zenith antagonist of purveyors of falsity, of idols — lifeless and dull.

In terms of sacrifice, by characterizing God in the reductive and actually quite demonizing way with which she does, Gisela may be held to account for facilitating Lena to (only) end up more deterred from God. That is, Lena may now have reason to think to herself that God (i.e., in actual fact Gisela’s imagic version of God) is a rather petulant and plain nasty type of god; and that, as a result, Lena might either end up feeling less enthusiastic to show an interest in God, let alone love God (which is sort of the goal, regardless, as per the first Chief Moral Rule — see the top of my text on Idolatry Theory); or she might be led to wonder that God exists only even less.

By promoting God in the dubious image of being a terribly petulant and petty kind of tyrant, Gisela can’t help but promote an estrangement toward God, the uncensored and unadulterated true God, the way or ways God is in truth and reality. This sad development is one of the big sacrifices that Gisela so offhandedly came to making (as if it’s no big deal) by heedlessly and derogatorily speaking on God’s behalf the way she does, by recklessly appropriating God’s authority for manipulative and selfish (authoritarian) reasons. By mischaracterizing God in such a way that it benefits her ego and power aspirations, Gisela thereby facilitates people exposed to her prejudicial views of God to sacrifice an unknown measure of attraction toward God (the precise measure of loss would be known only to God) — in clear violation of the first Chief Moral Rule. |2.2})

2.1 Meeting the mean mesmerizing master man

Gisela takes Lena to the lobby of a small administrative building and, without asking permission, casually confiscates the belongings that the girl was carrying with her in a purse. Without saying anything, Gisela then disappears into a room with Lena’s stuff, leaving her behind in the lobby, otherwise vacated. After a few seconds, a teary-eyed small boy emerges from another room into the lobby. Lena tends to the boy with some curiosity and compassion, but when Gisela once again re-enters the lobby from the room into which she disappeared, she coldly tells her to leave the boy alone; and furthermore declares that the time has come for the newcomer to engage in a session of general confession with Pius. In the mean-time, a woman older than Lena but younger than Gisela enters the lobby from the outside, who could in principle be the boy’s mother; only to unaffectionately tell the mute kid to pull himself together, takes him by the hand and the two of them leave the building.

The door of the room which released the crying little boy buzzes open and Lena walks toward it with an already hesitant look on her face. When she enters the room and sees Pius sitting on a sofa silently waiting for his new visitor, the leader–in a subtle yet peculiar stroke of power–holds up his hand the moment their eyes meet so as to make her stop dead in her tracks; and when she complies, after a few seconds of gazing at her, lowers his hand again, thus letting her know she’s free to move once more.

Pius: Come in.
Lena sits down across from Pius on quite a regular chair, one that’s not nearly half as agreeable as Pius his comfy seat.
Pius: What’s your name?
Lena: Lena.
Pius: So how have you spent your life so far, Lena?
Lena: I’ve been searching for God, but I haven’t found him yet.({2.3.i})
Pius: Ah. You see, even though he’s everywhere, he’s so hard to find.
After a fairly long pause, Pius suddenly moves his upper torso like a child excited about a new toy, thus startling Lena (which may have been the intention from the start).
Pius: Do you know who I am? Who am I?
Lena: You’re Pius. The Good Shepherd, who leads his flock to the Lord’s heavenly kingdom.({2.3.ii})
Pius: Yeah. Ours is a poor and humble life, full of hard work. Once you join us, you must remain.
Lena: Yes.({2.3.iii})
Pius: You’re an attractive woman. You must have a boyfriend. Someone who loves you.
Lena: No. I want to follow the way of the Lord.({2.3.iv})
Pius: You’re not telling the truth. I can see it in your eyes. I see it in your soul. Is Satan inside you?
Lena: No.({2.4.i})
Pius: Take off you apron.(She looks at him in anguish)Take off — your — apron.({2.5.i})
She anxiously rises to her feet and takes off her apron as instructed.
Pius: “Open your blouse.(She again manifests resistance)Open — your — blouse.({2.5.ii})
She once more does as she’s told, albeit visibly reluctantly at this humiliating and intimidating order, avoiding eye-contact as she goes.
Pius: Just what I thought. Gray rags on the outside, the instruments of the harlot beneath.({2.6.i})
Pius stands up, goes to stand beside her and starts sniffing her like one animal eagerly exploring the functions of another.
Pius: I smell the Beast of Hell. Did you touch yourself?
Lena: No.
Pius: Is Satan inside you?
Lena: (look of anguish) No.({2.4.ii})
Pius: (raises voice) Do you renounce Satan, the Beast of Hell?!
Lena: Yes.({2.3.v})
Pius: Do you renounce the sins of the flesh?!
Lena: Yes.({2.3.vi})
Pius: Do you renounce all lies and deceit?!
Lena: Yes!({2.3.vii})
He grabs her sides with both hands, which startles her, and forces her to face him.
Pius: (normal voice) Tell me the truth. Why are you here?
Lena: I’m here for you, Pius. I need you, that’s why.({2.3.viii})
Pius: Oh, now you’ve spoken truly.({2.7}) (embraces her)Feel the grace of the Lord coming down on you.({2.6.ii})

Pius, at least for now, seems to succumb buying into her bullshit the moment she goes to stroke his ego, claiming to be needing him. Lena’s compound act of deception and prejudgment may be described by the following two truncated scripts:

({2.3| i. Psychic Abuse of the Deception with Counterfeiting God’s Authority kind: Level = Moral Error; Perp = Lena; Victims = God&Daniel&Satan&Lena&Pius; Audience = Lena&Pius;

1. Incoming-stage: Lena initiates the inspiration of an Abstract. . .
{} God-Pidol: [X] Although she searched for me, [X] Lena did not find me {i}; [M] Lena is authorized to speak on my behalf {ii}; [X] I have a Good Shepherd in Pius, [X] who leads his flock to my heavenly kingdom {ii}; [X] Lena wants to follow my way {iii};
{+} Daniel-Pidol: [M] Lena is not my girlfriend {iii};
{+} Satan-Pidol: [M] I am renounced by Lena {iv};
{+} Lena-Pidol: [X] I have been searching for God, [X] haven’t found him yet {i}; [M] I am authorized to speak on God’s behalf {ii}; [M] I agree with remaining in the commune (indefinitely) {iii}; [X] Don’t have a boyfriend, [M] Daniel is not my boyfriend, [X] instead just want to follow the way of the Lord {iv}; [X] Renounce Satan {v}; [X] Renounce sins of the flesh {vi}; [X] Renounce all lies and deceit {vii}; [X] Am here for Pius, [X] because I need Pius {viii};
{+} Pius-Pidol: [X] I am the Good Shepherd, [X] who leads his flock to the Lord’s heavenly kingdom {ii}; [X] Lena’s here for me, [X] because she needs me {viii}; [M] Have an eager new apprentice in Lena;
Abstract Pidols are distributed over Audience;

Even though I (as analyst) need to be careful not to rush to judgment myself, it nevertheless seems reasonable for me to assume that Lena is either lying or being intentionally (and instrumentally) insincere when she claims i) to be searching for God, but hasn’t found him yet; ii) that Pius would be the Good Shepherd, leading his flock to heaven; iii) that she agrees to remain in the commune (indefinitely); iv) that she wants to follow the way of God; v) that she renounces Satan; vi) that she does not do, or has given up on, masturbation or casual sex; vii) that she from here on out won’t lie or deceive (when that’s of course the biggest lie of them all); viii) that she came to the commune just for Pius because she needs him.

Specifically concerning item ii), by alleging that Pius leads his flock to heaven, Lena may be charged with the potentially arbitrarily serious metaphysical offense of Counterfeiting God’s Authority1. Heaven is God’s business, it’s his castle. And so as master of his own castle, God naturally is the final authority when it comes to deciding who gets to enter it and under what qualifying conditions. It’s not up to humans to decide. Imagine you were God and some of your own stock of human beings would go around unabashedly seizing the celestial liberty to decide for themselves who gets to end up in your cozy little afterlife domicile. Chances are you wouldn’t like it either. Would you even like it, to drive the point home another way, if some random person in the street would casually seize the comparable liberty to send to your house the sort of people they think you would like having as guests? — and not only that but also gleefully extend permission to those same guests to stay at your sweet little place an indefinite amount of time? That’s not really being nice, now is it?

Hence, Lena is guilty of asserting the right to speak on God’s behalf, making the sort of assertion of which its substance goes far beyond her authority as human being. She is simply doing something wrong by haplessly trying to force herself into God’s shoes when taking the reckless freedom to judge a matter which is only up to God to decide. As discussed below, Pius stoops to the same metaphysical offense in the same exchange (and would do quite a few times afterward).

As for the polarities chosen: Lena prostitutes God’s name in the unwarrantedly flattering way she characterizes herself as well as Pius (at the offhanded expense of God’s name). As she did in front of Gisela, Lena drags God into the equation all for the purpose of bolstering her credibility and attractiveness as apprentice in front of Pius, something which is automatically abusive and demeaning toward God. Hence, God’s Pdiol is provided with a negative polarity, while that of Lena and Pius are adorned with a positive one — since both are rendered in super-flattering terms. To her obvious benefit, serving to keep her boyfriend in the clear, Daniel is implicitly represented with more relative innocence (not having been ‘snared’ and ‘bedazzled’ by Lena) than reality would permit; hence his Pidol also is given positive polarity.

Since Satan supposedly is renounced by her, Lena presents a relatively positive image impression of the cunning old devil, insinuating that the evil creature is a little bit less evil in that he were to refrain from possessing and as such exploiting her (when it is still an open issue whether or not Lena really is spiritually clean; it certainly is not an established fact as Lena has Pius believe). Hence, the Pidol based on Satan is likewise granted a positive polarity.

2.  Scene of Immorality-stage: Lena initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Lena-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Victims/ – Using Verbality&Name&Body/;
{}|{+} Lena-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Lena/ to [Lie | Speak Truthfully] to Audience/ about Victims/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Lena/ [Lying | Speaking Truthfully] about Victims/ – Using Verbality&Name&Body/;
{}|{+} Lena&Pius(&Daniel&God&Satan)-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Lena/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the other, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

Note that Satan, just like God, also has no PrimePidol/physical body and so does not and cannot form part of the Concrete Scene; his Pidol in play is of a purely Abstract nature.

In summary, qualitatively, Lena incurs authentic guilt toward everyone whom she involves in her act of Deception — God&Satan&Daniel, more so toward Pius and especially toward Lena herself; |2.3})

({2.4| i. Psychic Abuse of the Prejudgment kind: Level = Moral Error; Perp = Lena; Audience = Lena&Pius;

1. Incoming-stage: Lena initiates the inspiration of an Abstract. . .
{+} Satan-Pidol: [X] I am not inside of Lena (2x);
{+} Lena-Pidol: [X] Satan is not inside of me (2x); [M] I can therefore be trusted (2x); 
Abstract Pidols are distributed over Audience;

Lena may be charged with being prejudiced when twice affirming to not have Satan inside of her, meaning–in an abstract sense--that she would not be ruled or influenced by evil, and–in a concrete sense–not be possessed by demons; when, strictly speaking, such matter remains as of yet unverified, an open and unresolved question (especially the latter claim).

As for the polarities chosen: Lena presents excessively flattering images belonging to two objects, inferring that both her own person and Satan deserve more commendation (in terms of presumed innocence) than as of yet is reasonable to assert; hence the polarity of her practices are chosen positive. 

2.  Scene of Immorality-stage: Lena initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Lena-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Satan&Lena/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Lena-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Lena/ [Prejudging | Soundly Judging] Satan&Lena/ in front of Audience/;
{}|{+} Lena(&Satan)-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Lena/ in front of Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the other, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Lena incurs authentic guilt toward everyone whom she involves in her act of Prejudgment — Pius, more so toward Satan and especially toward Lena herself; |2.4})

({2.5-7| Pius his immoral actions may be described by the following three truncated scripts, which have a unified stage three discussion trailing at the end of the final script.

({2.5| i. Psychic Abuse of the [M.SV] Immoral Order kind: Level = dubious Moral Action; Perp = Pius; Victim = Lena; Audience = Pius&Lena;

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{+} Pius-Pidol: [X] To have Lena take off her apron (2x); [X] To have Lena take off her blouse (2x);
{} Lena-Pidol: [X] To take off my apron (2x); [X] To take off my blouse (2x);
Abstract Pidols are distributed over Audience;

There are two parties involved, Pius as Master orders Lena as Servant to Victimize herself by doing two things that she clearly shows are against her will. Hence, it’s a Master versus Servant and Victim, [M.SV] (em dot es vee), 2-party Immoral Order. 

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: In front of Audience/, (Engaged in || Entitled to) [Immorally | Rightly] Ordering Lena/ to [Victimize | Prepare for Inspection] Lena/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: In front of Audience/, (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ [Immorally | Rightly] Ordering Lena/ to [Victimize | Prepare for Inspection] Lena/;
{}|{+} Lena-Pidol: In front of Audience/, (Being || Deserving to be) [Immorally | Rightly] Ordered by Pius/ to [Victimize | Prepare for Inspection] – Using Verbality&Name&Body/;

{}|{+} Lena-Pidol: In front of Audience/, (Being designated || Deserving designation) to be [Victimized | Prepared for Inspection] by Lena/ on [Immoral | Righteous] Order by Pius/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward all involved in passing his Immoral Order — Lena and especially toward Pius himself; |2.5})

({2.6| i. Psychic Abuse of the Prejudgment with Counterfeiting God’s Authority kind: Level = Moral Error; Perp = Pius; Audience = Lena&Pius;

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{} God-Pidol: [M] Pius has my blessing to act in my stead; [X] My grace falls upon Lena in the act of Pius embracing her;
{} Lena-Pidol: [M] Underneath my appeasing exterior, I sport the outfit on a harlot;
{+} Lena-Pidol: [X] I am blessed with God’s grace through Pius’ embrace;
{+} Pius-Pidol: [M] I have the blessing of God when I act in his stead; [M] I convey the grace of God in my embrace of Lena; 
Abstract Pidols are distributed over Audience;

I find Pius’ comment about Lena’s attire terribly prejudicial (and demeaning), so that’s why I have designated it an act of prejudgment on his part, yielding a Pidol based on Lena with negative polarity.

Also, as to whether first of all Pius in this dubious context is even authorized to act on God’s behalf is an as yet unsettled prejudicial issue; secondly, as to whether God’s grace in fact extends from Pius to Lena by the mere act of the leader physically embracing the novice, strikes me also as awfully prejudicial on his part, based on the for him awfully egosyntonic self-congratulatory prejudice that he has been granted the exceptional power (from high-up above) to function as God’s immaculate vicarious envoy; thus yielding a Pidol based on Pius with a positive polarity.

In addition, Pius pretends as if Lena would now be blessed with God’s grace, a flattering gesture toward Lena that translates into a Pidol based on her that now has positive polarity. Pius props himself up (flatters himself) by trying to prostitute God’s authority when the shady cult leader shows to have the chutzpah to pretend as if it is God embracing her when he does — this is of course not to say that God’s grace excludes Lena (it probably doesn’t), but the details of such matter–conditions and such–are obviously for God to decide, not Pius. Hence, in contrast with that of Pius, the Pidol based on God (serving as Pius’ invisible de facto slave) is chosen negative.

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] God&Lena&Pius/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ [Prejudging | Soundly Judging] God&Lena&Pius/ in front of Audience/;
{}|{+} Lena&Pius(&God)-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Pius/ in front of Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the other, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward everyone whom he involves in his act of Deception — God, more so toward Lena and especially toward Pius himself; |2.6})

({2.7| i. Psychic Abuse of the Deception kind: Level = Moral Error; Perp = Pius; Audience = Lena&Pius;

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{+} Lena-Pidol: [X] I spoke the truth when claiming to be needing Pius;
{+} Pius-Pidol: [M] I am needed by Lena;
Abstract Pidols are distributed over Audience;

Even though evidently unknown to himself, Pius is downright lying (or, technically more accurate, ignorantly passing on a lie) when casually confirming Lena speaking truthfully, since it’s obvious to any fly on the metaphysical wall that she is anything but sincere, not in her interactions with Pius (nor with Gisela, for that matter). The two Pidols that result from Pius’ confirmation have positive polarity because they paint images that prop their respective object up in unwarranted and artificial fashion (super-flattering).

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Lena&Pius/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ to [Lie | Speak Truthfully] to Audience/ about Lena&Pius/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Pius/ [Lying | Speaking Truthfully] about Lena&Pius/ – Using Verbality&Name&Body/;
{}|{+} Lena&Pius-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Pius/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the other, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward everyone whom he involves in his act of Deception — Lena and especially (albeit narrowly) Pius himself; |2.7})

3. In terms of actualization, Pius is the boss, the Grand Poobah of the commune, and I expect him therefore to see himself perfectly entitled to order Lena around, to have her undress at his leisure and–when she does–to then go buzzing around her if he so chooses; to furthermore lie to her, to prejudge her, seeing his statements as not being lies at all but the simple God-given truth, his acts of factual prejudgment as nothing more than ones of only sound judgment; and to moreover also believe the lies that she tells him about himself if only they serve to stroke his ego bulging with Narcissism (playing on his grandiose ego is his seeming Achilles Heel) — Pius would then be first in line to actualize by euphemism his Pidols brought into being by way of deception and prejudgment.

Compared to Pius, Lena is expected to show a lot less willingness to adopt his toxic Pidols. While she does obey him when he orders her to undress, she would do so not because she acknowledges his authority in her heart, but rather because she sees it as one more thing she has to do in order to pass for an acceptable new member of the commune. Lena would then want to adopt none of the Pidols he releases into the ether; neither those belonging to the accurate nor the euphemistic offense-interpretation. If anything, judging from her subtle demeanor of aversion, she much sooner will be inclined to privately consider him a (raving) lunatic, and a dangerous one at that. As such, she is bound to toss out of the moral window, albeit silently, anything (of substance, toxic or not, that) he is (pro)claiming.

And once again, people have the audacity to drag God into the mix, once more having the nerve to speak on his behalf. I guesstimate that while God may show more leniency and clemency toward Lena when she nonchalantly goes to falsely claim having an interest in him – making false promises of sincere devotion to him and then even going so far as to claim that Pius’ flock are only bound for heaven, I suspect God to be a lot less pleased with Pius doing something similar when the leader has the chutzpah to go around pretending as if his embrace would be as magical and beneficial as God’s. In other words, a Pius blinded by a hunger for praise and power is prostituting God’s Authority; and I don’t expect God to be willing to let it slide as easily as he might do with Lena (also note that Pius his rule affects on the order of a hundred people, whereas Lena’s abuse of God’s name is estimated to affect merely a handful of people at most).

In terms of conscience and sacrifice, Pius is acting from an aloof position of self-elevating power in the way he treats members of his flock. There is no equality to be found in the commune, at least not in the sense of conformity with the Golden Rule. At the expense of otherwise being in tune with his authentic conscience, Pius has simply granted himself–by sheer decree–superior moral standing with respect to every other dweller of the commune — whom automatically are deemed of lower standing. It is Pius who is king and the rest of the people are expected to be his loyal subjects (and all but grovel at his feet in a state of abject submission). For Pius it is all about maintaining power and ensuring personal glory, not seeking Golden Rule-compliance — which he, in effect, must be loathing.

The factual sacrifices that he is forcing his victims to make on his behalf and for his temporal benefit, actually can’t help but promote an emotional distance between himself and his victims, whom at whatever level of their consciousness may be expected to only become more fearful of Pius, the more he victimizes them. But Pius would unlikely be bothered by the commune sacrificing so much for his egocentric and self-worshiping sake, just so long as it enables him to exercise (and expand) power over them; all the while not viewing himself as a power-hungry person at all (because that would make him out to be a bully, cast him into a visually unsympathetic role, however easily deserving he fits the part); but rather insisting on viewing himself as nothing short of a perfect disciple of God, a pure and immaculate extension of God’s will manifesting in the commune, forever valiantly busy fighting for the glory of God against the evil forces of darkness (and all that Manichean medieval madness). |2.5-7})

2.2 Being shown around by Gisela

A little bit later, Gisela has fetched Lena again and the elder supervisor is showing her around the site, telling the apprentice that men, women and children live separately. It’s best for everybody that way. And separate means separate. ({2.8}) Gisela then brings her to the sleeping quarters assigned to her, a small and modest dormitory for young women. As she appoints a bed to the younger, Gisela casually tells Lena to use the bandage to tie down your breasts. And take off those shoes. You look like a slut. ({2.9})

The supervisor leaves Lena behind in the dormitory and locks the door of its bedroom, thus forcing the novice to remain inside until tomorrow morning. When darkness has fallen, Gisela opens up the door of the bedroom again and lets in a handful of girls who all seem to belong in the same age-bracket as Lena does. The newcomer exchanges a few words with one of them, Doro, who lets the other in on a secret: she’s getting married soon. But before she can finish what she’s saying, Gisela re-enters the room. As if by drone-like rote, the women at once line up next to their beds like obedient little soldiers at boot camp in the barracks (see, for instance, Full Metal Jacket). Gisela begins her walk across the row of beds, doling out a pill to each girl as she goes, watching also each of them swallow the damn thing, purposefully having the girl open up her mouth for inspection before moving on to the next girl if satisfied with what she sees.

When Gisela reaches Lena, the cheeky girl has the audacity to ask her what for, but Gisela ignores her question by plainly and reproachfully ordering her (twice) to take and swallow it down (like a good girl, just like the rest of the perfectly compliant girls). ({2.10.i}) Lena slowly puts the pill into her mouth with notable hesitation and reluctance. Gisela then orders the already rebellious girl to open her mouth and when seemingly taking too long, a blunt Gisela reaches out with her hand and grabs the jaw area of Lena’s face so as to pry open her mouth ({2.10.ii}), making Doro–who is standing next in line to Lena–chuckle in mild apparent sadistic delight. Content with what she sees, assuring herself that the chemical little fucker did slid down the esophagus of her victim in actual fact, Gisela finally moves on to Doro, leaving Lena looking at the receding older woman as if she had all but molested her.

The sets Boys, Girls, Women and Men comprise all the boys, girls, women and men in the commune, respectively; The set Everyone consists of all members of the commune: the union of the Boys, Girls, Women and Men sets.

({2.8-9| i. Psychic Abuse of the Prejudgment kind: Level = Moral Crime (groups) and Moral Error (Lena); Perp = Gisela; Audience = Gisela&Lena;

1. Incoming-stage: Gisela initiates the inspiration of an Abstract. . .
{+} Boys-Pidol: [X] It’s best that the group to which I belong, Boys, is separated from the remaining groups: Men, Women and Girls;
{+} Girls-Pidol: [X] It’s best that the group to which I belong, Girls, is separated from the remaining groups: Men, Women and Boys;
{+} Women-Pidol: [X] It’s best that the group to which I belong, Women, is separated from the remaining groups: Boys, Girls and Men;
{+} Men-Pidol: [X] It’s best that the group to which I belong, Men, is separated from the remaining groups: Boys, Girls and Women;
{} Lena-Pidol: [X] I look like a slut in my current presentation, where my breasts are not tied down and my shoes are likewise unacceptable;
Rule-pidol: [X] It’s best for everybody in the commune to live according to a separation of the sexes as well as a separation of adults from children;
Abstract Pidols and Rule-pidol are disseminated over Audience;

All of the above group-characterizations render prejudicial images (representing a putatively ideal makeup of society) which go counter to biological normalcy and traditional tried-and-tested upbringing. Hence, Gisela paints excessively flattering images of the various demographic groups while assuming segregated states; that’s the reason why I chose to give them positive polarities. As for Lena, the dubious personal image that Gisela advertises renders her in demeaning representation — hence the negative polarity. 

2. Scene of Immorality-stage: Gisela initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Gisela-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Lena&Everyone/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Gisela-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Gisela/ [Prejudging | Soundly Judging] Lena&Everyone/ in front of Audience/;
{}|{+} Lena&Everyone-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Gisela/ in front of Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the other, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Gisela incurs authentic guilt toward everyone involved in her act of Prejudgment — [Everyone minus Lena&Gisela], more so toward Lena and especially toward Gisela herself. Since she’s acting on his authority, Pius through copyinheritance gets to share in Gisela’s incurred guilt;

3. In terms of actualization, given her vain and conceited demeanor, I think it’s safe to say that Gisela sees herself not at all as someone making prejudicial statements, but rather solely correct and valid sort of judgments. She would then, while remaining ignorant of her statements being factually prejudicial, resolve to in effect actualize her Pidols by euphemism. In sharp contrast, I expect Lena to head down a completely different direction, even though she might openly signal agreement with Gisela’s claims when pushed (while being in secret disagreement). Just as to how she would receive Gisela’s assertions of life, I expect Lena–when sincere–to neither be willing to adopt any Pidols coming from Gisela, not those corresponding to the euphemistic offense-interpretation (both stages), nor those belonging to the accurate offense-interpretation (stage two). Indeed, as with respect to Pius, I sooner expect Lena to secretly and privately only draw Gisela’s mental health in question, ever more so.

Due to their prejudicial nature, it remains to be seen (to say the least) if Gisela’s statements hold water when scrutinized, ideally by an infinitely wise and immaculately illumined authority of a necessarily divine nature. Let’s not go into the supervisor’s offhandedly belittling assertion that Lena would look indecent in her outfit (I for one do not think so; boring, yes); and let’s instead focus on Gisela’s stated demographical prejudices. For example, is it really beneficial in general for a child to be permanently pulled from their biological parents at a presumably early age (3 months, it will be confirmed later on in the story), only to have it constantly be surrounded by peers and adult leaders of the commune with which the child in general has no special confidential and emotional connection?

Technically, I am not qualified to answer such a question since I am not a child-psychologist or pediatrician, but intuitively to me it would seem that most children not only do not benefit, they even stand to suffer when lacking the emotional support from a pair of adults whom they, in an ideal sense, can trust since birth; who are around most of the time, and who therefore are able to comfort and support them whenever a need for it arises. It certainly seems at the very least a controversial matter to implement strict segregation of the sexes and adults from children, including especially parents from children.

But while such strict segregation policies have questionable merits for adults and children alike, it is a lot less uncertain who will be the great benefactor from it all. By deliberately severing the bonds naturally existing between males and females and adults versus children, all involved human beings are suddenly left with unfulfilled attachment needs. And what better object to attach to than the one person in the commune who is propped up (sometimes literally through loud-speakers) as God’s designated vicar? What better alternative source of emotional support is there to be found than the supreme parental figure coming in the form of Pius? What better surrogate father-figure than the one person, verified shortly, who would be closest to the best spiritual father-figure one could ever hope to have?

As to the corrupting spell of self-fulfilling prophecy which, by default and definition, plagues the general concept of (pre)judgment [see my text on Idolatry Theory]: every time Gisela proclaims that it is best for everybody to separate adults from children as well as one gender from the gender, she reinforces the need in her to be correct in her judgment, a type of need on which her reputation as a sound judge automatically relies. For if she turns out to be right, then her reputation as a reliable and credible judge is saved and indeed fortified. If, however, it turns out that she was wrong, if it turns out that especially children are for the most part served best when being surrounded by their biological parents, then lo and behold, Gisela proves to have made an unsound judgment call, and as an ironic result now all-of-a-sudden qualifies to be judged herself.

As such, in a bid to save her own future hide and secure its furry if slippery reputation, Gisela is expected to from this moment onward be inspired yet a little bit better to actively work to make sure that females indeed are best separated from males and that adults indeed are best separated from children. That is, each time Gisela goes to openly express her demographical prejudices, she would only propel herself forward trying to actively turn into a reality the prejudicial picture she paints and promotes of the commune. In other sinister words, just to prove herself right, just to show her worthiness as a judge, Gisela thus increasingly gains a stake at whipping up actual conflicts between males and females as well as fomenting actual strive between adults and children. Gisela would then be acting as the kind of prophet who (zealously) works to fulfill her own prophecy, inspired to work to fulfill her own prophetic vision of a purportedly ideal community each time she goes on to proclaim its veracity — like she did just now in front of Lena.

But it gets worse if Gisela is convinced to only be acting on the will of God, which I strongly suspect she does — if for no other reason than that she is acting on Pius’ authority, the one person in the commune regarded about as close to God as anyone could ever get. If Gisela really believes that God in actual fact supports her demographical prejudices, you can expect her to then view it as nothing short of a Holy Mission to ensure that such really would be best that way. . . and what better way to see to the realization of such a striking feat of de facto social engineering than to make the experience of the traditional alternative, that which is nevertheless biologically natural, so very agonizing and abhorrent that it simply becomes unsustainable and unbearable?

In terms of conscience and sacrifice, an unfazed Gisela seems undeterred from forcing the commune to sacrifice well-being and happiness of its members, even promoting it, if likely not consciously and perhaps not even out of willful malintent. For all we know, the female supervisor really does believe that separating sexes and children from adults is but a sure way to communal happiness and prosperity, both in a spiritual and material sense. She would thus need to believe that what she is doing is truly in everybody’s best interest — which does constitute a psychologically plausible and tantalizing objective to pursue since everybody would, after all, want to save themselves from the egodystonic plight of having to admit to oneself being a bit of a servant of evil; I don’t expect anyone to wake up in the morning looking forward to do some good-old-fashioned train-wrecking evil during the day.

Notwithstanding any merit that may be found in the adage that the road to hell is paved with good intentions, everyone would want to believe that they are part of the good guys, only intent on doing entirely-wholesome sort of good at any arbitrary date or time of day. Gisela still cranks it up further a notch. Even though she’s not in actual fact acting inline with her authentic Golden Rule-compliant conscience and instead must be acting on her inauthentic power-seeking conscience, I expect Gisela to sincerely be convinced of acting only in accordance with God’s perfect and inerrant will (which, in reality, so as to first of all help himself buying into the nevertheless veritably appalling fruits of his delusions of grandeur, is Pius his selfish and deluded will merely dressed up as the will of the one who holds the true keys of Heaven). |2.8-9})

({2.10| i. Psychic Abuse of the [M.SV] Immoral Order kind and Physical Abuse of the Body kind: Level = Moral Error; Perp = Gisela; Victim = Lena; Audience = Gisela&Lena&Girls;

The set Girls consists of all the other girls (besides Lena) present in the bedroom of the dormitory.

1. Incoming-stage: Gisela initiates an implicit potential practice of Abstract. . .
{+} Gisela-Pidol: [X] To have Lena take what to her is an unknown pill (2x);
{} Lena-Pidol: [X] To take the unknown pill administered by Gisela (2x);
{+} Gisela-Pidol: [M] I am Superior with respect to Lena by grabbing her mouth and prying it open so I can inspect its interior;
{} Lena-Pidol: [M] I am Inferior with respect to Gisela by her grabbing my mouth and prying it open so she can inspect its interior;
Abstract Pidols are distributed over Audience;

The order is deemed immoral because forcing someone to swallow an unknown pill violates that someone’s autonomy. Also, Gisela as Master is forcing Lena to victimize herself by taking the pill. Hence, Lena assumes both the role of Servant and Victim; and the Immoral Order becomes of the 2-party [master versus servant and victim] type — [M.SV] (em dot es vee).

2.  Scene of Immorality-stage: Gisela initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Gisela-Pidol: (Engaged in || Entitled to) – in front of Audience/ – [Immorally | Rightly] Ordering Lena/ to [Victimize | Prepare] Lena/ – Using Verbality&Name&Body/;
{}|{+} Gisela-Pidol: (Being || Deserving to be) – in front of Audience/ – Used in Verbality&Name&Body/ by Gisela/ [Immorally | Rightly] Ordering Lena/ to [Victimize | Prepare] Lena/;
{}|{+} Lena-Pidol: (Being || Deserving to be) – in front of Audience/ – [Immorally | Rightly] Ordered by Gisela/ to [Victimize | Prepare] Lena/ – Using Verbality&Name&Body/;

{}|{+} Lena-Pidol: (Being || Deserving to be) – in front of Audience/ – designated to be [Victimized | Prepared] by Lena/ on [Immoral | Righteous] Order by Gisela/ – Using Verbality&Name&Body/;
{+}|{+} Gisela-Pidol: (Engaged in || Entitled to) Bodily [Abusing | Inspecting] Lena/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Gisela-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Gisela/ Bodily [Abusing | Inspecting] Lena/ in front of Audience/;
{}|{+} Lena-Pidol: (Being || Deserving to be) Bodily [Abused | Inspected] by Gisela/ in front of Audience/ – Using Verbality&Name&Body/;

Each exposes PrimePidol audiovisually to others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Gisela incurs authentic guilt toward all involved in passing her Immoral Order and executing her Bodily Abuse — Girls, more toward Lena and especially toward Gisela herself. Since she’s acting on his authority, Pius gets to share through copyinheritance in Gisela’s incurred guilt;

3. In terms of actualization, once again Gisela is expected to right away actualize her own Pidols by euphemism; seeing herself–which she evidently does–as nothing short of divinely authorized to order around those under her command because Pius had vested such degree of boot-stomping authority into her, and she would (forever only) be all-too-eager to acknowledge Pius’ authority as it promises to furnish her with power (by pedigree) in return.

As for the girls themselves, their tacit slave-like compliance counts as evidence that they no longer have individual will; they simply do as they’re told while their autonomy had already been put into the freezer (ages ago), courtesy no doubt of having been subjected to a sufficient period of prior brainwashing, also overseen by Pius (a process of forcible indoctrination which is actually still ongoing and is expected to continue going on as long as his reign lasts). Hence, to the extent that they slavishly obey Gisela, the girls–emphatically minus Lena–are expected to follow perfect suit in that they too would be adopting Gisela’s Pidols of the euphemistic offense-interpretation.

In terms of conscience and sacrifice, the same applies as with the previous stage three discussion: Gisela is guided by an artificially-imposed inauthentic conscience, one that’s fused with that of Pius, the person in the commune who would be the first to feed her the inherently misleading impression that she’s doing nothing but good while going around unequivocally bullying and abusing those under her wing of (paternal) responsibility. . . all for the glory of the Lord! |2.10})

3.Day Two — Seeking Salvation by Slaving

Early in the morning at what seems like some kind of daily briefing, all the women, young and old, including nurses, have neatly assembled in orderly rows on the sort of outside square that otherwise might function as a parking lot. Gisela is facing them like a veritable military commander.

An unseen announcer, referred to henceforth as Announcer, relays a message through the installed public-address speaker-system, which appears loud enough to be audible throughout the entire commune: Work means serving God. And if you carry the Lord in your heart, your hands will do the Lord’s work. ({3.1})

({3.1| i. Psychic Abuse of the Prejudgment with Counterfeiting God’s Authority kind: Level = Moral Crime; Perp = Announcer; Victims = Announcer&God&Men&Women; Audience = Everyone;

1. Incoming-stage: Announcer initiates the inspiration of an Abstract. . .
{+} Announcer-Pidol: [M] I am Authorized to speak on God’s behalf; {Counterfeiting God’s Authority}
{} God-Pidol: [M] Announcer is Authorized to speak on my behalf; [X] I am served by Men&Women diligently doing work, [M] the kind invented in particular by the leadership of the commune; [X] If you carry me in your heart, your hands will do my work;
{+} Men&Women-Pidol: [X] I serve God by doing work, [M] especially the sort that is handed down to me by the leadership; [X] If I carry God in my heart, my hands will do God’s work;
Rule-pidol: [X] Work means serving God; [X] and if you love God, your work will be God’s work;
Abstract Pidols and Rule-pidol are disseminated over Audience;

Announcer’s statement is awfully prejudicial but provides the leadership with a seductive license to basically enforce slave-labor, a labor-warrant of sorts coming along with enhanced authoritativeness due to having a purportedly divine commission. The suggested philosophy behind the relayed public statement is that doing work which just so happens to benefit the leadership of the commune, also just so happens to precisely be what God wants you to do (when it is the will of Pius, not God per se, that is actually being catered to). And if you fail to do your work, i.e. if you fail to do the work allotted to you from high-on-up-above (=the leadership), you were to fail serving God (and who would dare stoop so low?); or, if your work is of disappointing quality, it would ostensibly serve as proof positive that you simply are not loving God enough, not carrying God in your heart enough (which, in a worst case scenario, pretty much paints you as outright evil, [but a stone’s throw away of being] a sure instrument of the devil).

In other words, in short, if you fail to do as you’re told, if you fail to put your back into doing your “fair share” of work, the leadership will come down hard on you, arbitrarily hard; and all-the-while that same leadership will see themselves entirely vindicated in doing so, in punishing you at their arbitrarily severe discretion, because they are supposedly as close to God as any living soul could possibly (ever) get, while you on the other hand are always but an inch away from being appointed a sure minion of the devil, only up for punishment in order to see to it that all of that despicable evil is driven out of your system, cleanly and thoroughly.

As for the polarities is concerned, God is being depicted as the horrible sort of industry-fixated tyrant that, for example, the leadership of any ambitious real-life Communist regime would immediately be clamoring loudly for — if only they were not atheistic in nature from the outset of course. It’s an awful shame that once again God is being dragged into the affair. One more time, whether he likes it or not, God’s authority has been hijacked for the purpose of serving in the superficial justifiability of a nevertheless appalling human venture of unbridled power and inhumane exploitation. Hence, by painting God in the terribly unflattering light of a labor-obsessed Communism-friendly sort of tyrant, the Pidol based on God just had to be adorned with a negative polarity.  

In contrast, every victim–i.e., each member of the union of the Men&Women sets–or every adult person, is being celebrated as a servant of the Most High God while in the actual fact of the matter that extension of God is with same stroke of pen being reduced to first-and-foremost the objectifying capacity of practical slave-laborer. Hence, courtesy of flaunting such a super-flattering picture, the polarity of the Pidol of Men&Women was obviously chosen positive.

In addition, an obvious rule may be derived from Announcer’s declaration. The inferred rule deserves to be regarded as having been attributed to an idolatrous enhanced value to the extent that it competes with the Golden Rule (the latter which, when pursued perfectly, in the social dimension, guarantees to be perfectly idolatry-free). While in-and-of-itself it’s good to work and good to love work (I myself usually also like to work with monk-like zeal), but to assert that God would want you to break your back doing the sort slave-labor that has been assigned to you by the leadership of this dreadful commune, is another ball of wax altogether, especially when you stand to be punished in terrifying ways for delivering–what is deemed by the leadership as–subpar qualify sort of work. 

2. Scene of Immorality-stage: Announcer initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Announcer-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Victims/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Announcer-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Gisela/ [Prejudging | Soundly Judging] Victims/ in front of Audience/;
{}|{+} Announcer&Men&Women(&God)-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Announcer/ in front of Audience/ – Using Verbality&Name&Body/;
Announcer exposes PrimePidol audially to Everyone;
Each of Men exposes PrimePidol (in principle[**]) audiovisually to the others of Men, audially to self;
Each of Women exposes PrimePidol (in principle[**]) audiovisually to the others of Women, audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

Assembled on a square outside in the military fashion with which they have, the men are presumed to have done so as well. [**] Note that the rigid uniformity of physical countenance furnished by this type of assembly, leaves each of its constituents discouraged and handicapped from seeing the actual facial expressions of most of the others present on the square while Announcer’s message washes indiscriminately over the brain of each and every breathing soul of commune.

In summary, qualitatively, Announcer incurs authentic guilt toward all the people involved with or exposed to his act of Prejudgment — [Everyone minus Announcer], and more so toward God and especially toward Announcer himself. If we make the reasonable assumption that he is acting on Pius’ authority, the leader of the commune gets to share through copyinheritance in Announcer’s incurred guilt;

3. In terms of actualization, if acting on Pius’ authority and if Announcer’s own autonomy is presumed to for-all-practical-purposes have been muted – shelved – rendered without function or meaning, it is likely the case that Announcer does not see anything wrong with his factual act of prejudgment, instead viewing it as but an entirely righteous act of only sound judgment. Announcer would then be actualizing his own Pidols by euphemism. I think it’s likewise fair to assume that the lion-share of the commune have the same drone-like mentality as Announcer does and also would see nothing wrong or out-of-the-ordinary in the PA-communicated statement, thus effectively (eagerly) adopting the Pidols of stage one and of stage two with the euphemistic offense-interpretation (gladly) switched on.

In terms of conscience, by acting as Pius’ practical slave, by robotically acting on his leader’s will, Announcer is not acting according to his own authentic conscience, but rather has adopted that of Pius — and obviously not his authentic conscience since such has also been thoroughly muted for all intents and purposes. Announcer would instead be acting on Pius’ inauthentic power-seeking and praise-seeking conscience, albeit not recognized as such (as that once again would paint Pius as rather unsympathetically selfish and bullyish); rather, Pius would be prone to view himself as if acting on the conscience of no less a noble person than God Almighty himself.

In terms of sacrifice, backed up by his master and neatly following in the footsteps of his master (dictating word-for-word what he is to say), Announcer–in the capacity of being an agent of Pius–would ultimately view himself as likewise a mere extension of God, an emphatically inerrant God. As to all of the sacrifices he forces the commune at large to make as a result of his brainwashing efforts, outright lies and immoral orders serving to turn ordinary members of the commune into mechanically-acting slave-laborers spellbound by a work-worshiping ethos having a solid core of exploitation and no more than a mere Christian veneer, if the leadership is even capable of recognizing that the sacrifices they force the community to make are in fact sacrifices, such are prone to rather be viewed as instantly justified ones; since after all God would ostensibly be the big benefactor of all that hardship, as well as its ultimate orchestrator (who would be working for their special collective spiritual benefit at least as diligently from behind the scenes of physical reality) — and who could possibly argue with the Holy Will of God? |3.1})

3.1 Serving the Lord by slaving in the field

Lena has joined a group of women that can be seen wandering off into a crop-field and go on doing the usual cultivating sort of manual work that you may still observe the more primitive kinds of farmers do, those who lack the labor-alleviating benefit of access to either fossil-fuel-engine or electrical-engine type of modern machinery.

In the meanwhile, over at the hospital site of the compound, joined by a nurse and a military officer, Pius is busy inspecting a Daniel lying unconsciously in a bed, all bruised and battered.

Nurse: My God. What did you do to him?
Officer: We just asked him a couple of questions. {sick joke}
Nurse: I don’t know if he’ll ever become a human being again.
Pius: He could still be useful.
Nurse: But if the electric shocks damaged the cortex, nobody knows what he’s gonna be like.
Pius: (to nurse; illuminating) Everything under God’s sun is good for something. Got it?
He takes the officer by the arm and they venture outside of the room for a cozy little chat.
Pius: You know, if your people treat prisoners as badly as this one, that’s no good. Worst case, he’ll shit all over himself and die without revealing anything.
Officer: I see exactly what you mean.
Pius: That’s where psychology comes into play. Anyone can torture, but to break a person without harming physically, that’s an art.

Over at the field, Gisela is playing the part of strict supervisor to a tee: stern and stoic expression on face, whip in hand ready to lash out, eager to make sure that no-one has the senseless gall to commit the absolute earth-shattering sin of falling behind. Poor Lena, however, can’t keep up with the pace and at some point does break down from fatigue and thirst. Gisela wastes no time at all to run up, race up, and discipline the girl her offending little derriere by striking out a few times with her utterly ferocious whip. ({3.2})

Gisela: (full of spite) Is that how you serve the Lord, you lazy slut? ({3.3i+ii})
Lena: No, no, please! I just need to drink something.
Gisela: Is that so? Okay, I’ll take care of that. ({3.4})
Lena: Thank you.
Gisela walks away, only to return a little bit later carrying a literal whole bucket of water, and places it next to her. Lena’s about to all-but dive right into it, but the supervisor intervenes.
Gisela: Stop! You think I’m waiting on you? If even one drop is missing by this evening, I’ll make you regret it. And keep that bucket next to you, at all times. ({3.5}) (to other girls) “What are you cows staring at? ({3.6i+ii})

Over at the hospital, an apparently feeble-minded fellow patient haphazardly wanders into the room where Daniel is still stretched in bed horizontally, still recuperating but being in a conscious state by now. A nurse escorts the befuddled retard out of the room again.

Later that night, in the pertinent dormitory of the girls, Lena is lying in bed silently sobbing, probably thinking to herself what on earth she got herself into by joining the patently god-awful commune.

The set Girls consists of Lena’s companions, apart from Gisela, also working the field right now. The set Everyone, already defined, consists of all members of the commune.

({3.2-6| Gisela’s infractions in this scene may be described by the following five truncated scripts. The stage three discussion covering all five scripts is given at the end of the last script.

({3.2| i. Physical Abuse of the Body kind: Level = grievous Moral Error; Perp = Gisela; Victim = Lena; Audience = Gisela&Lena&Girls;

1. Incoming-stage: Gisela initiates the inspiration of an Abstract. . .
{+} Gisela-Pidol: [M] I am Superior with respect to Lena by whipping her two times;
{} Lena-Pidol: [M] I am Inferior with respect to Gisela as is evident by being whipped two times;
Abstract Pidols are distributed over Audience;

2. Scene of Immorality-stage: Gisela initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+Gisela-Pidol: (Engaged in || Entitled to) Bodily [Abusing | Punishing] Lena/ in front of Audience/ – Using Name&Body/;
{}|{+} Gisela-Pidol: (Being || Deserving to be) Used in Name&Body/ by Gisela/ Bodily [Abusing | Punishing] Lena/ in front of Audience/;
{}|{+} Lena-Pidol: (Being || Deserving to be) Bodily [Abused | Punished] by Gisela/ in front of Audience/ – Using Name&Body/;

Each exposes PrimePidol audiovisually to the others of Audience, audially to self; 
Abstract (PrimePidol-derivatives || Implicit Pidols) are cast over Audience;

In summary, qualitatively, Gisela incurs authentic guilt toward everyone involved in her act of Physical Abuse — Girls, but more toward Lena and especially toward Gisela herself. Since Gisela is presumed to be acting on his authority, Pius gets to share in Gisela’s incurred guilt through copyinheritance; |3.2})

({3.3| i. Psychic Abuse of the Prejudgment kind: Level = Moral Error; Perp = Gisela; Victims = God&Lena&Gisela; Audience = Gisela&Lena&Girls;

1. Incoming-stage: Gisela initiates the inspiration of an Abstract. . .
{} God-Pidol: [M] I am served by people who work hard, [M] the communal work at hand in particular, [M] and those who refrain from taking extracurricular breaks {i}; {delimiting, tyrant}
{} Lena-Pidol: [X] I am a lazy slut {ii}, [M] who fails to serve God by taking extracurricular breaks {i}; {demeaning, ungodly}
{+} Gisela-Pidol: [M] I am not a lazy slut {ii}; [M] I do not take extracurricular breaks, and therefore do not fail to serve God {i}; {vain, self-congratulatory}
Abstract Pidols are disseminated over Audience;

By calling Lena a lazy slut {ii}, Gisela is directly insinuating that being a lazy slut is bad, worthy of condemnation; and thus, courtesy of the projecting very nature of leveling an insult to someone, implies to say that she cannot possibly deserve being regarded a lazy slut herself. That is, by pointing the insulting finger at Lena, calling her a lazy slut, Gisela is implicitly flattering herself by condemning the general state of lazy sluttiness, implicitly denying being a lazy slut herself (even though, by being a supervisor, appears to get to avoid doing any manual labor herself).

In addition, Gisela again implies that God is served by hard work, the communal type of slave-labor in particular; and that God would furthermore (vehemently) disapprove of people stooping to take what Gisela infers to believe are intolerable extracurricular breaks. Again, the image that Gisela paints of God is decidedly unflattering, depicting him as a slave-labor-obsessed tyrant. Hence, the polarity of the Pidol based on God gets to be negative. In contrast, Gisela paints an implicit picture of herself that is heedlessly flattering, vain and indeed pious, someone who (ostensibly) does serve God by abstaining from taking unofficial breaks. The polarity of the Pidol based on herself therefore gets to be positive.

2.  Scene of Immorality-stage: Gisela initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Gisela-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Victims/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+}Gisela-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Gisela/ [Prejudging | Soundly Judging] Victims/ in front of Audience/;
{}|{+} Lena&Gisela(&God)-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Gisela/ in front of Audience/ – Using Verbality&Name&Body/;

Each exposes PrimePidol audiovisually to others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Gisela incurs authentic guilt toward all exposed to her act of Prejudgment and Insult — Girls, but more so toward God, Lena and especially toward Gisela herself. Since Gisela is presumed to be acting on his authority, Pius gets to share in Gisela’s incurred guilt through copyinheritance; |3.3})

({3.4| i. Psychic Abuse of the Suspended Deception kind: Level = Moral Crime; Perp = Gisela; Victims = Gisela&Lena; Audience = Gisela&Lena&Girls;

1. Suspended Incoming-stage: Gisela initiates the inspiration of an Abstract. . .
{+} Gisela-Pidol: [M] I’ll make sure Lena’s thirst is gone; {Good Samaritan promise}
{+} Lena-Pidol: [M] I’m going to get rid of my thirst by Gisela; {hopes up}
Abstract Pidols are distributed over Audience;

When Gisela told Lena that the supervisor was going to take care of the girl’s thirst, it would be pretentious and prejudicial for me to assume that she was lying from the start. Of course, Gisela may very well have been ill-willed from the get-go, but–who knows–it may also be that she was acting on a philanthropic whim to really set out and help Lena. However, it might then have happened that she–along the way–changed her mind when realizing that she in the process looked like Lena’s servant, a waitress of sorts (which might very well be perceived to be disconcertingly demeaning by someone who favors projecting a personal image of superiority and power); and so by refusing Lena permission to drink from the bucket which she nevertheless did first bring to Lena (like a waitress), Gisela would this way have shown to everyone working in the field that she did not – after all – stoop so low as to act as Lena’s practical inferior in power. Thus Gisela’s factually sadistic action may be read as: serving to show everyone with eyes to see, that it was all a ploy on her part, that her apparent role of servant-like inferiority was clearly not genuine but only instrumental in showing off her ultimate personal superiority vis-à-vis Lena.

As such, since it is not immediately clear as to whether her intention was to deceive Lena from the start, or whether she decided to do so midway, I preferred to classify Gisela’s possible immoral action as an initially suspended form of deception.

2. Suspended Scene of Immorality-stage: Gisela initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Gisela-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Victims/ – Using Verbality&Name&Body/;
{}|{+} Gisela-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Gisela/ [Lying | Speaking Truthfully] to Audience/ about Victims/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Gisela/ [Lying | Speaking Truthfully] about Victims/ – Using Verbality&Name&Body/;
{}|{+} Victims-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Gisela/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Gisela incurs authentic guilt toward everyone whom she involves in her act of Suspended Deception — Girls, more so toward Lena and especially toward Gisela herself; Since Gisela is presumed to be acting on his authority, Pius gets to share in Gisela’s incurred guilt through copyinheritance. |3.4})

({3.5| i. Psychic Abuse of the [M.SV] Immoral Order and [MP.SV] Conditional Threat kind: Level = Moral Crime; Perp = Gisela; Victim = Lena; Audience = Gisela&Lena&Girls;

1. Incoming-stage: Gisela initiates the inspiration of an Abstract. . .
{+} Gisela-Pidol: [X] Lena is to not drink from the bucket {master}, [X] or else to punish her severely {master&punisher};
{} Lena-Pidol: [X] I am not to drink from the bucket {servant&victim}, [X] or else Gisela is going to punish me severely {servant&victim};
Abstract Pidols are distributed over Audience;

Master Gisela orders Servant Lena to victimize her own person by denying herself the opportunity to drink from the bucket. The nature of her order is immoral because Lena really is thirsty and to prohibit her from ridding herself from thirst is automatically immoral, to the point of being sadistic — making it an [M.SV] Immoral Order. Gisela then lends further oomph to her Immoral Order by threatening to Punish the young apprentice (Servant and Victim) if failing to comply with the older’s instruction — making it an [MP.SV] Conditional Threat.

Since she did not specify what she would do to Lena if failing to obey her, and since she already showed to be quite willing to inflict corporeal punishment unto Lena, it is only reasonable to assume that Gisela intends to punish Lena severely. I have therefore chosen to rate the offense as a Moral Crime so as to reflect the seriousness of the punitive infraction possibly coming from Gisela. It also becomes retrospectively clear that Gisela was lying in actual fact when rescinding on her promise to take care of Lena’s thirst, and so the suspension part of her deception is lifted, turning ({3.4}) into a case of genuine deception.

2. Scene of Immorality-stage: Gisela initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Gisela-Pidol: (Engaged in || Entitled to) – in front of Audience/ – [Immorally | Rightly] Ordering Lena/in front of Audience/ to [Victimize | Teach a lesson] Lena/ – Using Verbality&Name&Body/;
{}|{+} Gisela-Pidol: (Being || Deserving to be) – in front of Audience/ – Used in Verbality&Name&Body/ by Gisela/ [Immorally | Rightly] Ordering Lena/ to [Victimize | Teach a lesson] Lena/;
{}|{+} Lena-Pidol: (Being || Deserving to be) – in front of Audience/ – [Immorally | Rightly] Ordered by Gisela/ to [Victimize | Teach a lesson] Lena/ – Using Verbality&Name&Body/;

{}|{+} Lena-Pidol: (Being || Deserving to be) – in front of Audience/ – designated to be [Victimized | Taught a lesson] by Lena/ on [Immoral | Righteous] Order by Gisela/ – Using Verbality&Name&Body/;
{+}|{+} Gisela-Pidol: (Engaged in || Entitled to) [Conditionally Threatening | Warning Fairly] Lena/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Gisela-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Gisela/ [Conditionally Threatening | Warning Fairly] Lena/ in front of Audience/;
{}|{+} Lena-Pidol: (Being || Deserving to be) [Conditionally Threatened | Warned Fairly] by Gisela/ in front of Audience/ – Using Verbality&Name&Body/;

Each exposes PrimePidol audiovisually to the others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Gisela incurs authentic guilt toward everyone whom she involves in her Immoral Order and Conditional Threat — Girls, more so toward Lena and especially toward Gisela herself. Since Gisela is presumed to be acting on his authority, Pius gets to share in Gisela’s incurred guilt through copyinheritance; |3.5})

({3.6| i. Psychic Abuse of the Insulting Prejudgment and Implicit [M.S] Immoral Order kind: Level = Moral Error; Perp = Gisela; Audience = Gisela&Lena&Girls;

1. Incoming-stage: Gisela initiates the inspiration of an Abstract. . .
{} Girls-Pidol: [X] I am a cow {insulting prejudice}; [M] To mind my own business (keep focusing on doing God’s work) {Servant};
{+} Gisela-Pidol: [M] I am not a cow {self-flattering prejudice}; [M] To have the girls minding their own business {Master};
Rule-pidol: [M] You are not to stick your nose into the affairs of your supervisor;
Abstract Pidols and Rule-pidol are disseminated over Audience;

By insulting the girls, by calling them cows, Gisela is implying that being a cow is bad, worthy of condemnation, and therefore is implying to not be herself what she makes the girls out to be. In general, an insult therefore always goes accompanied by an implicit claim of the insulter being the negative (or opposite) of what they make the victim(s) out to be. Given her vain demeanor, it seems only all-the-more fitting to add the definition of an implicit Pidol in which Gisela paints her own person as not being a cow herself.

Also Gisela implies by her action that the girls do not have the right to intervene in the factual abuse-event victimizing Lena. Since her admonition goes against compassion and decency, since the supervisor implicitly (all-but) tells the girls not to show any hint of sympathy toward a Lena in a state of clear distress, it is taken to constitute an immoral order on her part, albeit one that is implicitly not explicitly expressed. Hence, I tacked on another pair of implicit [M] clauses, one to the Girls-Pidol and one to the Gisela-Pidol, — to properly reflect the implicit notion that the girls are to mind their own business.

In addition, a rule may be derived from Gisela’s implicit order. The supervisor either is telling them for the first time to henceforth not interfere with her business of a supervisory nature, or is reinforcing an already previously stated similar directive. Hence, Girls are (once again) reminded to be discouraged from paying any form of attention to any sort of scenery brought into being by their supervisor engaged in–what to any humane and objective standard would be–immoral activity.

2. Scene of Immorality-stage: Gisela initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Gisela-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Gisela&Girls/ and Implicitly [Immorally | Rightly] Ordering Girls/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Gisela-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Gisela/ to [Prejudging | Soundly Judging] Gisela&Girls/ and Implicitly [Immorally | Rightly] Order Girls/  in front of Audience/;
{}|{+} Gisela&Girls-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Gisela/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Girls-Pidol: (Being || Deserving to be) Implicitly [Immorally | Rightly] Ordered by Gisela/ in front of Audience/ – Using Verbality&Name&Body/;

Each exposes PrimePidol audiovisually to others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

Note that:
{+}|{+} Gisela-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Gisela&Girls/ and Implicitly [Immorally | Rightly] Ordering Girls/ in front of Audience/ – Using Verbality&Name&Body/;

…expands into the two offense-interpretations as follows:
{+} Gisela-Pidol: (Engaged in || Entitled to) Prejudging Gisela&Girls/ and Implicitly Immorally Ordering Girls/ in front of Audience/ – Using Verbality&Name&Body/; accurate offense-interpretation;
{+} Gisela-Pidol: (Engaged in || Entitled to) Soundly Judging Gisela&Girls/ and Implicitly Rightly Ordering Girls/ in front of Audience/ – Using Verbality&Name&Body/; euphemistic offense-interpretation;

In summary, qualitatively, Gisela incurs authentic guilt toward all exposed to her acts of Prejudgment — Girls, more so toward Lena and especially toward Gisela herself; Since Gisela is presumed to be acting on his authority, Pius gets to share in Gisela’s incurred guilt through copyinheritance. |3.6})

3. In terms of actualization, I expect Gisela to readily actualize her own Pidols by euphemism; that is, I expect her to only instantly rationalize away all of her immoral actions — instantly adopting stage one Pidols and the Pidols of stage two assuming the euphemistic offense-interpretation. I expect her to rather view her actions as necessary in order to put Lena in her place as well as affirm her power over the girls. Since she is doing Pius’ bidding, I expect her to tell herself (if even consciously necessary) that she is entirely authorized to punish any of the girls, should they be–what she would consider as–stepping out of line. As to her acts of prejudgment specifically, I once again expect her to view them not as such at all, but only sound acts of judgment.

As for Lena, I expect of course the opposite, although she will nonetheless be forced to openly acknowledge the superseding authority of Gisela in all that the supervisor is doing, including victimizing Lena. When she was lying in bed silently weeping, I sincerely doubt whether she would be thinking how right Gisela had been in treating her like a subhuman slave deserving to be humiliated and tortured (in front of the rest of the girls). She’s expected to neither actualize by euphemism, nor by accuracy, Gisela’s Pidols — i.e., neither adopting stage one Pidols and the euphemistic offense-interpreting Pidols of stage two; nor the accurate offense-interpreting Pidols of stage two.

Speaking of which, it is strictly unknown whether or not any of the remaining girls would support Gisela or whether they are more sympathetic toward Lena. However, if they have been conditioned into accepting Gisela’s authority reflexively and without muttering, if they have been brainwashed into believing that Gisela is always right and just in whatever she does, that she is moral whenever she objectively is immoral, if they as such identify with their supervisor in the capacity of her being the factual aggressor — through what may be called a generalized form of trauma bonding (Stockholm Syndrome) — it is reasonable to expect them to then side with Gisela and refuse to lend a sympathetic hand to Lena, viewed sooner as deserving of punishment. They would then too join Gisela in adopting the stage one Pidols and the stage two Pidols while assuming the euphemistic offense-interpretation.

In terms of conscience, what Gisela is doing to Lena obviously does not square with the Golden Rule and as such is hard to account for in terms of the abusive supervisor her authentic conscience (which seems to have been put to sleep, sound sleep, anyway). However, Gisela’s actions make more sense relative to an inauthentic conscience connected to power-seeking. By shaming Lena and also the rest of the girls at the end by calling them cows and basically implicitly telling them to mind their own business, Gisela seizes the opportunity to show who’s the boss around town, who has the power, who is not to be messed with; showing to all present that she does not stoop so low as to allow anyone under her wing of authority to slack, fall behind in the work the leadership (for-all-practical-purposes albeit unknown to themselves) is idolizing, and that she also does not allow to be taken advantage of by any of the girls through what would then be acting as their servant, their maid, catering water to them whenever their royal highnesses are supposed to be thirsty. To Gisela, her function revolves around power and maintaining it at–in practice–any arbitrary cost.

Indeed, in terms of sacrifice, Gisela seems undeterred from being committed to sacrifice whatever measure of quality deemed necessary as to the potential relationships existing between herself and any of the girls, just so long as it enables her to hold on to power, or better yet: promote her power. Effectively not showing to care that by heedlessly exercising power which she does, Gisela can do little but further an estrangement between herself and the girls under her wing, who will come to view their supervisor with only increased apprehensiveness to the point of developing outright fear the more she lashes out to them with her managerial rod of iron.

But rather than acknowledging personal blame for such factually regretful social development, Gisela would sooner be prone to project any sort of authentic guilt she might start to harbor away from her own person and unto the ‘troublesome’ girls in order to subsequently justify mistreating them (viewed and advertised as a deserved application of ‘punishment’) for the suffering they ostensibly would be causing her — when it actually is sooner the other way around. After all, once again, Gisela is doing the bidding of Pius, and they both seem to agree vehemently that Pius is only doing God’s noble work and, since she is his lieutenant, by logical extension so would she — and who could possibly argue with any of those exalted special souls when they are convinced to only be doing Holy Work? |3.2-6})

4.Day Nine — Bringing Alfred Back to Life

At the start of the day, the women again have lined up on the outside square overseen by Gisela, as usual. The public-address system can be heard announcing: Today’s schedule has been changed. All women are to come to the women’s hall immediately.

Gisela: You heard, everyone to the women’s hall now. Move it!
As the women silently and solemnly walk to the women’s hall under the spellbinding direction of Gisela the mistress puppeteer, a headstrong Lena manages to defy the august hypnotic atmosphere immersing them all from head to toes by squeezing in a few words to Doro.
Lena: Doro.
Doro: Shhh.
Lena: Please, just one thing. How did you and your fiancé meet?
Doro: You mean Dieter?
Lena: Yes.
Doro: Mixed parade.
Lena: What is that?
Doro: When there’s important guests, we sing and get to wear our Sunday best. And suddenly, there was Dieter.
Lena: When was that?
Doro: Two… no, three. Three years ago.
Lena: Three years ago? And since then?
Doro: We are in love.
Lena: Yes, but when do you see each-other?
Doro: We don’t.
Lena: You haven’t seen him for three years?
Doro: Couldn’t. No mixed parades.

In the meantime, the men have gathered in the church hall and Pius, the other puppet-master, is holding a sermon. The crowd of women, assembled in another hall, can hear what’s going on in the men’s hall by way of yet another speaker-system installed internally. One of the men, Alfred, has died and his body has been put on display in an open casket at the front of the room — his departure is the subject of the service.

Pius: (bitterly; to Men) You can’t see because your eyes are blind. And you can’t feel, because your hearts are made of stone. ({4.1.i}) <spits> But I, I, I can see, I can feel.
Men: (solemn) Yes.
Pius: (impassioned) Because it’s God looking through me. ({4.1.ii})
Men: Yes!
Pius: It’s God talking through me! ({4.1.iii})
Men: (firm) Yes!
Pius: (stands next to coffin) I’m calling you, Alfred. Come out of your coffin. Get up and live. Come and rise. Rise from death to celebrate. . . ({4.2.i}) (starts piously wandering around the room) . . . the Lord Almighty.
Men: (enthusiastic) Yes!
Pius: Lord Almighty! Because you shall live. ({4.2.ii})
Men: Yes, live! ({4.3.i})
Pius: You shall live. ({4.2.iii})
Rudi: (pleading) Alfred, live! ({4.3.ii})
Over in the other hall, overseen by a silent and stately Gisela standing up front and facing them, the crowd of women (apart from Lena and a girl named Ursel) with perfectly-fitting solemn yet passionate surrender affirm, vocally as well as in body language, what is happening in the other room where Pius’ sermon is steadily building up to a crescendo.
Pius: I am the resurrection and the life. ({4.1.iv})
Men: Yes.
Pius: (sits down next to coffin; emotional) And I’m telling you, Alfred. Who believes, shall see the glory of the Lord. I’m telling you to overcome death. And rise! Rise! ({4.2.iv})
Men: Rise! ({4.3.iii})
While being fervently backed up by the rest of the men the entire time, seated at front row, Rudi suddenly stands up, walks over to the microphone placed on standard right in front of him, and addresses Pius. 
Rudi: Pius. We all saw it and we all heard it. When you called Alfred, it wasn’t your voice, it was God’s voice! But the miracle couldn’t take place, because there’s too much sin in our community! (despairing grief) Too much sin!! ({4.4})

({4.1-4| The infractions of this scene may be represented by the following four truncated scripts. The stage three discussion follows the end of the last script.

The set Men consists of all the living men right now present in the church hall (besides Pius); The set Women consists of all the women right now assembled in the women’s hall listening to the sermon through said speaker-system.

({4.1| i. Psychic Abuse of the Prejudgment and Deception with Counterfeiting God’s Authority kind: Level = Moral Error; Perp = Pius; Audience = Pius&Men&Women;

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{} Men-Pidol: [X] I can’t see because I am blind {i}; [X] Can’t feel because my heart is made of stone {i}; {demeaning & emasculating prejudices}
{} God-Pidol: [M] Pius is Authorized to act on my behalf; [X] Pius is able to see and feel because it is me who is looking through him {ii}; [X] When Pius talks, it is not his own but my voice that is speaking {iii}; {restrictive, demeaning & victim of Deception following Counterfeiting God’s Authority}
{+} Pius-Pidol: [M] I am Authorized to act on God’s behalf; [X] Can see and feel because God is looking through me {ii}; [X] God is talking through me {iii}; [X] Am the resurrection and the life {iv}; {vain & self-congratulatory lies}
Abstract Pidols are distributed over Audience;

i) It’s awfully pretentious for Pius to claim that the men are blind and have hearts “made of stone.” I have therefore designated it an act of prejudgment;
ii+iii) By the same token, albeit on the other end of the spectrum of sensory acumen, we have Pius claiming to have the sight – the heart (capacity to feel) and the voice of God — pretentious claims based on Counterfeiting God’s Authority and which more clearly deserve to be labeled as (self-glorifying) lies instead of the weaker charge of prejudgment. Likewise, Pius may be held to account for engaging in deception when asserting that, through his own ministrations of a mystical nature, an apparently deceased member of the flock named Alfred is nevertheless going to shake off the invisible shackles of physical expiration forced upon him by Grim Reaper. At Pius’ magical urging, old Alfred is supposed to rise up from the (un)dead and once again walk round and about all fresh and reborn;
iv) Likewise, I consider it an act of deception on Pius’ part, and a heedlessly self-exalting one at that, when claiming to no less be the resurrection and the life, i.e. Jesus Christ in the flesh;

As to the polarity of the practices, Pius his take of the men serves to put them down, in a place of inferiority and submission (terribly belittling). Likewise, it is not at all flattering toward God for Pius to assert that God’s divinely sophisticated and perfectly illuminated sense of sight and Pius’ relatively inherently defective and crude human sight are one and the same; the supposed same can be said for the puppeteer’s oratory skill. Hence, the polarity is chosen negative of the Pidols ascribed to the men as well as that of God. The polarity of Pius his Pidol is obviously chosen positive because, through his super-self-flattering declarations, he clearly seeks to elevate his own precious public image to unequaled celestial heights of importance and stature (the sure equal of Christ he would be, no less than an immaculate and inerrant certain extension of God). 

2.  Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Men/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ [Prejudging | Soundly Judging] Men/ in front of Audience/;
{}|{+} Men-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Pius/ in front of Audience/ – Using Verbality&Name&Body/;
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about God&Pius/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ to [Lie | Speak Truthfully] to Audience/ about God&Pius/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Pius/ [Lying | Speaking Truthfully] about God&Pius/ – Using Verbality&Name&Body/;
{}|{+} Pius(&God)-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Pius/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;

Pius exposes PrimePidol audiovisually to Men, and audially to self and Women;
Each of Men exposes PrimePidol audiovisually to Pius and the others of Men, and audially to self and Women;
Each of Women exposes PrimePidol audiovisually to the others of Women, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward everyone involved in his act of Prejudgment and Deception — Women, more so toward God&Men and especially toward Pius himself; |4.1})

({4.2| i. Psychic Abuse of the Deception and [M.S] Immoral Order kind: Level = Moral Error; Perp = Master = Pius; Victim = Servant = Alfred; Audience = Pius&Men&Women;

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{+} Alfred-Pidol: [X] I shall rise up and live again (2x); {flattering lie}
{+} Pius-Pidol: [X] To have Alfred resurrect and rise up from his coffin;
{} Alfred-Pidol: [X] I am to resurrect and rise up from my coffin; [X] Am to overcome death and rise! (2x);
Abstract Pidols are distributed over Audience;

i+iv) Since Alfred is dead, I have presumed that Pius as Master is issuing an immoral order when telling the Servant corpse that once was Alfred to rise up and resume life, a miraculous feat taken to be a physical impossibility in general;
ii+iii) I have presumed that Pius is lying, whether he knows it or not, when declaring that Alfred is going to reverse his dead-as-doornail state of being and simply start living again;

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Alfred/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ to [Lie | Speak Truthfully] to Audience/ about Alfred/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Pius/ [Lying | Speaking Truthfully] about Alfred/ – Using Verbality&Name&Body/;
{}|{+} (Alfred)-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Pius/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Immorally | Rightly] Ordering Alfred/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ [Immorally | Rightly] Ordering Alfred/ in front of Audience/;
{}|{+} (Alfred)-Pidol: (Being || Deserving to be) [Immorally | Rightly] Ordered by Pius/ in front of Audience/ – Using Verbality&Name&Body/;

Pius exposes PrimePidol audiovisually to others of Men, and audially to self and Women;
Each of Men exposes PrimePidol audiovisually to Pius&[others of Men], and audially to self and Women;
Each of Women exposes PrimePidol audiovisually to the others of Women, and audially to self; 
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

Although Alfred’s body has been put on display, it makes no sense to say that he has any meaningful role to play in the Concrete Scene — Alfred, courtesy of his lifeless state, does not form part of the Concrete Scene. And yet, regardless, his name is being dragged into the smelly moral affair, and so he does have a role to play in an abstract sense — hence, Alfred does crop up in the Abstract Scene. 

In summary, qualitatively, Pius incurs authentic guilt toward all involved in passing his act of Prejudgment and Immoral Order — Men, Women, more toward Alfred and especially toward Pius himself; |4.2})

({4.3| i. Psychic Abuse of the [M.S] Immoral Order kind: Level = Moral Error; Masters = Men; Servant = Alfred; Audience = Pius&Men&Women;

i+ii+iii) On the presumption that the miracle of resurrection cannot be enjoyed in general, I have likewise presumed that Men (Masters) are collectively issuing an immoral order when ordering the corpse of Servant Alfred to rise up and resume life. Since Alfred can no longer be victimized, the order cannot possibly victimize him — making it an [M.S] Immoral Order.

Man is an actor that either represents Rudi (2x) or any other member of Men (1x).

1. Incoming-stage: Man initiates the inspiration of an Abstract. . .
{+} Man-Pidol: [X] To have Alfred resurrect and rise up from his coffin;
{} Alfred-Pidol: [X] To live and rise up from my coffin;
Abstract Pidols are distributed over Audience;

2. Scene of Immorality-stage: Man initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Man-Pidol: (Engaged in || Entitled to) [Immorally | Rightly] Ordering Alfred/ in front of Audience/ – Using Name&Body/;
{}|
{+} Man-Pidol: (Being || Deserving to be) Used in Name&Body/ by Pius/ [Immorally | Rightly] Ordering Alfred/ in front of Audience/;
{}|{+} (Alfred)-Pidol: (Being || Deserving to be) [Immorally | Rightly] Ordered by Pius/ in front of Audience/ – Using Name&Body/;
Man exposes PrimePidol audiovisually to Pius&[others of Men], and audially to self and Women;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

Note that, unlike as usual, there is no Concrete Pidol-definition reserved for the victim of the order since Alfred is dead and therefore can no longer form part of the Concrete Scene (even though his corpse effectively is used as a prop); Alfred nevertheless is dragged into the Abstract Scene.

In summary, qualitatively, Man incurs authentic guilt toward all involved in passing his Immoral Order — Women&[others of Men], more toward Alfred and especially toward Man himself; |4.3})

({4.4| i. Psychic Abuse of the Deception with Counterfeiting God’s Authority kind: Level = Moral Error; Perp = Rudi; Victims = Rudi&Pius&God&Men&Women; Audience = Pius&Men&Women;

1. Incoming-stage: Rudi initiates the inspiration of an Abstract. . .
{+} Rudi-Pidol: [M] I am Authorized to speak on God’s behalf;
{+} Pius-Pidol: [X] Spoke with God’s voice while addressing Alfred; [M] I am not to blame for the failure of the miracle to take place;
{} God-Pidol: [M] Rudi is Authorized to speak on my behalf; [X] I am speaking through Pius in his address of Alfred;
{} Men&Women-Pidol: [M] For my contribution to generating too much sin in the community, I am (partially) responsible for the failure of the miracle to take place;
Abstract Pidols are disseminated over Audience;

As to the evident failure of Alfred to revive, Rudi’s declaration that the reason for this sad and unfulfilled turn of events — the community featuring too much sin — I have presumed to be a plain lie on his part. While I am not at all denying there to be an apparent abundance of transgression going on in the commune, in fact such is the very reason why I’m doing this analysis, I regardless consider it to have had no role to play in the failure of bringing about the intended act of resurrection. Instead, I consider it to be a general impossibility for any human being–irrespective of how close they allegedly are to God–to dispose over the power of resurrection.

I strongly suspect that the reason why Rudi is placing the blame for it at the feet of the community at large, is that it obviates critical examination of Pius, who thereby can be sure to continue enjoying being regarded a pristine and exceptional man of God, still having near-divine powers. It’s just that those penultimate godly gifts of his were simply unable to be put to good use, but not through defect or fault of his own at all, mind you. Oh no, it was all due to. . . the shortcomings and failures of their broad community (groveling at the feet of Pius). Rudi proclaims that the people of the commune, not Pius, are to blame for Alfred now being unable to rise up from the dead. Pius gets a free pass; he gets clearance to continue playing the saint, the virtual demi-god of Colonia Dignidad, while the broad servile mass of scapegoated people are expected to soak up the responsibility for it all, expected to repent and better themselves so as to finally enable Pius to show off those magnificently invigorating and exquisitely resuscitating divine powers of his!

All the while nobody seems to find it strange in the slightest bit that a supposed God-like being like Pius still proves to be so very dependent on the (lowly and needy) people he is supposed to rule (from a lofty and distant height). It’s a very strange state of affairs that no-one seems to find remarkable; no-one seems to find it necessary to place Pius under the loop for being unable to drag out of the closet and put to work those splendidly superior heavenly powers of his. . . all because of a silly bunch of grievously sinful mortals, who–while being terribly inferior compared to the Pius the Great (Reviver)–just so happen to all-the-same be superior to Pius in the sense of being able to obstruct his miracles from becoming a reality.

Such a shame Pius isn’t better and more powerful than that, isn’t it?

2.  Scene of Immorality-stage: Rudi initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Rudi-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Victims/ – Using Verbality&Name&Body/;
{}|{+} Rudi-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Rudi/ to [Lie | Speak Truthfully] to Audience/ about Victims/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Rudi/ [Lying | Speaking Truthfully] about Victims/ – Using Verbality&Name&Body/;
{}|{+} Rudi&Pius&Men&Women(&God)-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Rudi/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;
Rudi exposes PrimePidol audiovisually to Pius and others of Men, audially to self and Women;
Pius exposes PrimePidol audiovisually to Men, and audially to self and Women;
Each of Men exposes PrimePidol audiovisually to Pius and others of Men, audially to self and Women;
Each of Women exposes PrimePidol audiovisually to others of Women, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Rudi incurs authentic guilt toward all exposed to his act of Deception — Women&[Men minus Rudi], more toward God, and especially toward Rudi himself; |4.4})

3. In terms of actualization, apart from Lena and Daniel and perhaps one or two other shrewd souls moving about in the commune, the women and men all seem to vehemently believe in Pius his powers of resurrection. They all seem to have unshakable faith in Pius that he would not at all be lying to them or exposing them to his prejudices and immoral orders when he factually does; and so they all–by swallowing his lies and prejudices so readily and completely and by believing his immoral orders to not be immoral at all–show willingness to actualize by euphemism his Pidols of deception, prejudgment and immoral ordering (adopting stage one Pidols and stage two Pidols of the euphemistic offense-interpretation). The people of the commune thereby handicap themselves from being able to bring themselves to the more mature moral station at which they are confronted with any need to rationalize away the psychic abuse their leader foists on them — thus wholesale avoiding the painful dilemma that moral adults are saddled with: to actualize by accuracy his corresponding Pidols (stage two Pidols of the accurate offense-interpretation), or not.

By the same token, the heedless statements and affirmations coming from the supporting other men seem to collectively be bought into just as fervently — just so long, needless to say, as they happen to be perfectly in line with those of their illuminated and exalted one-of-a-kind leader. Hence, when Pius proclaims that Alfred will live again, ordering him to rise up from the dead, and the men follow their leader his example by seamlessly echoing his commandeering, they are only bound to believe their own lies and the validity of their commandeering; they too would only be dying to actualize their own Pidols by euphemism.

The men therefore function in practice as a blindly obedient human echo-chamber of Pius; and the leader, in turn, makes grateful use of being eagerly and reflexively backed-up by his men for it on-the-surface renders redundant any need on his part to critically examine his own words and actions. The men can always tell themselves that what they are doing must be good and just, or else their godly leader would not have either told or allowed them to do so. In turn, Pius can always say to himself that what he is doing must be good and just, or else he would not receive the (loud and reflexive) support from the community which he does. Since it dismisses as such a need for mutual critical examination of motives and morals, it’s very iffy to have such circular (implicit) endorsement plaguing the community; but this reciprocally-regretful state of affairs seems well-nigh unavoidable when people surrender in unthinking and uncritical worship to one of their own, a kind of person who–adding insult to injury–happens to ever gladly thrive on worship.

It all comes down to being, in vulgar terms, one big egosyntonic circle-jerk, if you will; a peculiar collective state in which the men may be falsely and prematurely inspired to congratulate themselves for being blessed with having Pius for a leader, such a wonderful and exceptional Man of God; and Pius–in turn–may congratulate himself for being blessed with having such a wonderful group of servile souls forming the basis of such passionate support for his illustrious and elevated person. It’s regardless–by their own making–a bubble of idolatry they are sitting in, one that is bound to burst sooner or later.

In terms of conscience, all in all, by having a toxic Pius running round and about while enjoying the backing of a reflexively supportive group of men (and women), it constitutes a dangerous form of group-level symbiosis for it basically knocks out of commission a collectively-enjoyed individual form of conscience. Rather than each of them being in firm connection with their own individual conscience, as would be normal and desirable, what they instead have is that their functional if artificial and inauthentic form of conscience has been handed to them from above by Pius, is that of Pius, a Narcissistic and Power-seeking kind of Pius.

The sermon featuring actual lying, immoral orders and acts of prejudice coming from Pius and his all-male echo-chamber, does not jive with the Golden Rule and is therefore hard to account for in terms of authentic conscience. When Rudi at some point basically blames the entire community (minus Pius) for their leader’s evident failure to bring about Alfred’s resurrection, it does not bode well for them at all because this particular sycophant of Pius has now gone and painted bull’s-eyes on the backs of everyone (minus Pius), thus leaving them all to only be in for it themselves; every member (minus Pius) is expected to pay for what is their own leader’s evident failure. But since neither one of them shows any conscious awareness of their lies being lies in actual fact, their orders being immoral in actual fact, and their expressed prejudices being prejudicial in actual fact, they are bound to also fail recognizing the regardless very rational need to calmly take a few steps back in order to critically examine (the motives and morals of) the one person among them all who guides them, who inspires them and who fires them up; and they likewise would do well to critically examine in particular the bare-naked nature of their own relationships with that same person.

In terms of sacrifice, the men and women of the community by-and-large seem entirely oblivious of the fact that they are in a toxic state of bondage with Pius, worshipful Pius — the resurrection and the life. As such, they automatically have gained a need for themselves to project blame away from their declared holy and blameless man for a leader and veer all of the culpability instead unto their own fellow members — for they are the appointed ones expected to cough up from among their own ranks the necessary scapegoats by which they may see to a cleansing off of the sins that are actually produced to cardinal extent by their poisonous and deluded leader himself (the ultimate authority he is, the pinnacle of the pyramid of power holding the commune in its tight grip).

Fortunately, no-one in the community has been physically harmed yet, but this is only bound to change, an accident waiting to happen. The community is already making sacrifices in terms of mental sanity as they allow themselves to swallow the lies, prejudices and immoral instruction coming from their leader as well as those of the men blindly obeying him, dutifully parroting his every word and unhesitatingly executing his ditto immoral commands. God help the commune when they feel the need to make even greater sacrifices just because their ascended leader tells them to, or just to make sure the Grand Poobah himself remains spotless and free from the sting of blame, any and all culpability. |4.1-4})

This chapter perfectly illustrates the sort of community that Lena now has joined. She has joined up with a group of people who in technical language practice not so much an open and concrete but more so an abstract form of Person-idolatry having the cult-leader named Pius for its object of service; mostly mentally manifested sort of worship which expresses itself especially–when practiced in its purest form–as a blind, reflexive and unquestionable obedience to Pius; a slave-like submissive attitude which invariably and unanimously is considered justified, worthy–indeed–desirable; as if the man featuring prominently and persistently in the center of praise-seeking attention would be none other than (((God Almighty intheflesh))) — meaning that all of his governing actions and decisions are deemed by his worshipers as though readily without flaw and therefore immediately beyond criticism.

Hence, in reference to the one unique person in their company allegedly being in closest (communicative) proximity to God of them all (nearly able to indulge in certain omniscience and omnipotence, just watch), even casually questioning Pius would–in their sincere (if spellbound) minds–be, at best, a most silly exercise in futility; and, at worst, a dreadfully heinous sort of insult (blasphemy!!) levied at their most honorable, most special and (of course, emphatically) most noble person in their midst. In other words, if the latter applies and–<with the collective mental engine driving Person-idolatry centered around their leader, Pius-idolatry, going full throttle now>–we would be talking about the sort of committed offense which once–during somewhat dated, more medieval and less enlightened sort of times–might have been ruled punishable by . . (. . fill in the arbitrarily bloody dots, here).

5.Day 37 — The Doro Situation

A van pulls up next to the workshop run by a middle-aged man called Bernd. A nurse, referred to as Nurse, steps out together with a Daniel already suitably dressed in overall. It’s apparent his wounds inflicted by torture have since healed and he shows being fit to join the work force of the commune. Nurse introduces Daniel to Bernd as Hans, the false name he now evidently goes by.

Nurse: You stay here.
Bernd: Who’s that?
Nurse: That’s Hans. He’s one of us now. ({5.1.i})
Bernd: Hans?
Daniel: (awkward) I… I’m Hans. ({5.2.i})
Nurse: He’s as dumb as they come, but Pius wants you to keep an eye on him. ({5.1.ii})
Bernd: What am I going to do with him?
Nurse: Just give him an easy job. Can you handle that?
Nurse then leaves the workshop by bus.
Daniel: (to Bernd) Ga… ga… Good to meet you. ({5.2.ii})

({5.1| i. Psychic Abuse of the Deception kind: Level = Moral Error; Perp = Nurse; Victims = Daniel&Bernd; Audience = Nurse&Daniel&Bernd;

1. Incoming-stage: Nurse initiates the inspiration of an Abstract. . .
{+} Daniel-Pidol: [X] My name is Hans; [X] I am a new regular member of the commune; [X] Am as dumb as they come;
{+} Bernd-Pidol: [M] I am dealing with a retard named Hans, [X] a new regular member of the commune (not at all a determined aspiring renegade);
Abstract Pidol is distributed over Audience;

Nurse is lying about Daniel, yet cannot be said to do so deliberately — for if she knew Daniel had given her a false name, was using her, she wouldn’t be introducing Daniel into the commune. She is as such unconsciously lying for Daniel’s benefit — she is but ignorantly passing on the lie which Daniel passed unto her prior about his name. Daniel therefore may be said to manipulate Nurse into lying for his sake. The matter of polarity is discussed in the following script.

2.  Scene of Immorality-stage: Nurse initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Nurse-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Victims/ – Using Verbality&Name&Body/;
{}|{+} Nurse-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Nurse/ to [Lie | Speak Truthfully] to Audience/ about Victims/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Nurse/ [Lying | Speaking Truthfully] about Victims/ – Using Verbality&Name&Body/;
{}|{+} Victims-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Nurse/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Nurse incurs authentic guilt toward everyone involved in her Deception — Bernd, more toward Daniel and especially toward Nurse herself. Since he made her believe he is Hans the Retard, Daniel gets to share in Nurse’s incurred guilt through copyinheritance; 

3. In terms of actualization, since Nurse shows every sign of really believing to be dealing with a genuine retard named Hans, it may safely be assumed that she does actualize her own Pidols by euphemism (Pidols of both stages, with stage two assuming the euphemistic offense-interpretation); whereas Daniel himself is expected not to of course, expected to instead actualize her Pidols by accuracy (stage two Pidols assuming the accurate offense-interpretation) — which shouldn’t be so hard for him to do, as his retard-disguise serves his ultimate purpose to get out of dodge ASAP. He’s not expected to be proud of resorting to manipulation and deception, but would rather find his hands tied behind his proverbial back in that he feels having no other choice but to do whatever shady thing deemed necessary in order to survive and get out. As to whether Bernd believes her, he shows no outer sign of disbelief, so he too would then be actualizing her Pidols by euphemism.

In terms of sacrifice, Nurse seems oblivious of the fact that, by believing Hans to be a genuine retard and by promoting across the commune such false identity of a new member, she is inadvertently drawing herself (together with the rest of the community) a little bit further away from perfect truth and therefore away from perfect sanity of mind. In terms of conscience, since she would be unconsciously passing on a lie, her conscience has no functional involvement in the sense that she is avoiding confrontation with the otherwise reasonable need to rationalize away her effort at deception — although, in general, Nurse is presumed to not be in touch with her authentic individual conscience anyway, but at all times be acting in accordance with Pius his inauthentic power-seeking “God-like” conscience. |5.1})

({5.2| i. Psychic Abuse of the Deception kind: Level = Moral Error; Perp = Daniel; Victims = Daniel&Bernd; Audience = Nurse&Daniel&Bernd;

1. Incoming-stage: Daniel initiates the inspiration of an Abstract. . .
{+} Daniel-Pidol: [X] My name is Hans; [M] Am indeed as dumb as they come (already apparent from the way I introduce myself);
{+} Bernd-Pidol: [M] I am dealing with a retard named Hans, [X] a new regular member of the commune (not at all a determined aspiring renegade);
Abstract Pidol is distributed over Audience;

Just like Lena, Daniel’s presentation of his own person is inherently disingenuous. As to the choice of polarity, one may argue that it should be negative because he paints himself to be less flattering in the dimension of personal intelligence than reality would have; but it may also be argued that the polarity should be positive because he paints himself to be more innocent than the truth would find agreeable — retards can do little harm, but people pretending to be retards who want to leave the camp (and help elucidate the world as to its inhumane real character) are a whole lot less innocent. . . at least in the eyes of the leadership of the commune, the ultimate target of his ongoing deception. I preferred the latter argument, because it paints the more relevant picture of himself, relevant in an attractive adaptive sense — consistent with his all-important mission to get out.

Furthermore, by presenting himself as a retard, it allows him to bedazzle the people around him (Bernd in particular) to lower their guards, compromise their vigilance while–the sleepwalkers that they are–letting themselves wander into a false state of self-satisfaction, a reason to feel better about themselves whenever they would come across a retard like him, only to snicker inwardly (coming with a touch of sadism right there) at his manifestly awkward behavior, dumb and clumsy but otherwise harmless (and that‘s precisely the point!).

It’s a fairly clever disguise because he also saves himself from the inherently stressful burden of having to spend a lot of aggravating time on verbally explaining himself (or being verbal at all), thus altogether limiting the chances of giving himself away by saying things he shouldn’t have said, or things he shouldn’t have said in a suspicious manner. A disadvantage is, however, that others might be quicker to perceive and judge him as dispensable — if for no other reason than that a retard is known to be less able to fend for themselves, less able to mount resistance to abuse or pending abuse. His retard disguise therefore limits his credible capacity for self-defense. 

Daniel uses especially his body (body language) to constantly communicate to the people he encounters in the camp (Bernd in particular) that he is but an automatically innocent and entirely innocuous retard moving round and about, not even hurting flies (let alone people). It’s also obvious that he received inspiration from what appeared to be a genuine retard when the latter accidentally ventured into his room back in the hospital the other day. By assuming the artificial personality of a moron, Daniel hopes to increase his odds of survival as well as furnish himself with a license of sorts to set out and explore the commune, or to act as a human yet inconspicuous fly on the wall as it were.

2. Scene of Immorality-stage: Daniel initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Daniel-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Victims/ – Using Verbality&Name&Body/;
{}|{+} Daniel-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Daniel/ to [Lie | Speak Truthfully] to Audience/ about Victims/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Daniel/ [Lying | Speaking Truthfully] about Victims/ – Using Verbality&Name&Body/;
{}|{+} Victims-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Daniel/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Daniel incurs authentic guilt toward everyone whom he involves in his Deception — Bernd&Nurse, and especially toward Daniel himself;

3. In terms of actualization, as with Lena, all throughout his stay in the commune, Daniel is assumed to be aware of engaging in deception (centered around protecting his own person) because it is deliberate and instrumental, serving his ultimate goal of escaping the commune. As such, while not necessarily taking pride in it, Daniel will see himself justified in his deceit if it serves said goal. He would then be actualizing his own Pidols by accuracy, i.e. accepting and adopting as being valid and the Pidols released in stage two belonging to an accurate offense-interpretation. On the other hand, Daniel would of course want the people in the commune, including Nurse and Bernd in this case, to remain perfectly unaware that he is deceiving them; and so, to the extent that he has his secret way, they would then be actualizing his Pidols by euphemism, i.e. accepting and adopting as being valid and just the Pidols which he effectively released in stage one as well as the Pidols of stage two while assuming a euphemistic offense-interpretation.

In terms of conscience, while Daniel obviously is not acting out of genuine loving concern for the people in the commune by so blatantly trying to deceive them, it may be argued that – instead – he is guided by a genuine love for himself (and Lena): all he wants is to get out safely into safety. Although he fails to treat the souls exposed to his deception with strict Golden Rule-compliance, as it is certainly true that he fails to give what’s best for them by leading them astray from the objective truth, such is well-nigh impossible due to the oppressive and perilous circumstances with which he has to deal, ones that make acting in sincere and forthright manners impossible.

His self-love (as well as love for Lena) and the impossibility of using fair play to get out, leaves Daniel having no choice but to suspend Golden Rule-compliance in the ways he relates to the people in the commune and to instead use deception on them all for the purpose of rescuing his own person. In that sense, it may be fair to state that at least for as long as he is stuck in the settlement, Daniel would be guided by an inauthentic conscience devoted to avoiding the shame of detection — thus thematically practicing, at least for as long as he’s there, Shame-avoiding Self-idolatry; as well as, just as with Lena, pursuing the goal of liberating himself — thus thematically practicing, at least for the occasion, Goal-tending Self-idolatry, where the obvious worshiped goal is to get out of dodge, as soon as possible and in one piece.

In terms of sacrifice, Daniel would then be willing to do “anything” (within reasonable limits), determined to sacrifice “anything” on the symbolic altars catering to his dual thematic practice of Shame-avoiding&Goal-tending Self-idolatry, just so long as it enables him to keep flying under the radar of detection while also keeping a deliberate but stealthy eye out for any viable means enabling him to flee the camp. In other words, all for being able to flee the commune sound and well, Daniel goes to sacrifice a little bit of mental sanity of all those souls, including Nurse and Bernd in this case, whom he is perpetually trying to make believe the illusion to be dealing with a genuine retard.

As such, in a similar fate shared with Lena, Daniel will be incurring an increasing load of authentic guilt toward said souls and as a result, he too has to move around in the commune with an ever lighter tread, he has to also be on his toes a little bit more every time he resorts to deception to keep his cover afloat and avoid detection while secretly plotting his escape, a steadily increasing loss of peace of mind which he nevertheless at all times needs to conceal for everyone around him and which is due to having to deal with a progressive anticipation of being reproached or reprimanded (after then “getting caught”) by the people he keeps on deceiving (which is everyone in his visible vicinity at any given time). The mental immediate price he has to pay for his relentlessly ongoing efforts at deception is a steadily increasing stress-load. |5.2})

Over at the field, together with the rest of the women, Lena is busy harvesting corn and loading buckets of the crop unto a truck when Gisela orders her to take a break and have a little chat with her supervisor.

Gisela: Lena? Come here a minute. I know it’s awfully difficult at the beginning. Everyone struggles at first, but it’s just a test. And you’re doing very well, I must say. Honestly.
Lena: Thank you, aunt Gisela.
Gisela: I like you, Lena, and the others like you, too.
Lena: I don’t know.
Gisela: Yeah, they do. I can tell. Especially Doro. She just loves you. And now she’s getting married.
Lena: She said so.
Gisela: I’m so happy for her. She must have told you about her fiancé? ({5.3.i})
Lena: Not really, just that… They’re in love and his name’s Dieter.
Gisela: (sly) Yeah, Dieter. Doro and Dieter. What a perfect match. Get back to work now. ({5.3.ii})

({5.3| Gisela’s conditional infraction may be described by the following truncated script (its stage three discussion is still to follow):

i. Psychic Abuse of the Suspended Deception kind: Level = Moral Error; Perp = Gisela; Victims = Gisela&Lena&Doro&Dieter; Audience = Gisela&Lena;

1. Suspended Incoming-stage: Gisela initiates the inspiration of an Abstract. . .
{+} Gisela-Pidol: [X] Am so happy for Doro, now that she’s getting married {i};
{+} Doro-Pidol: [X] Gisela is happy for me {i}; [X] Am a perfect match for Dieter {ii};
{+} Dieter-Pidol: [X] I am a perfect match for Doro {ii};
Abstract Pidols are disseminated over Audience;

At this point it is unclear whether Gisela is being sincere or not. For all we know, she may be entirely sincere in her remarks; that her friendliness is coming straight from the heart. But it may also be that she is being manipulative in the sense of cunningly pursuing an ulterior motive, one by which she’s trying to extract information from Lena on especially Doro and (what turned out to be) Dieter. 

As such, Gisela’s friendliness toward Lena might just be tainted, deserving to be counted as insincere, being instead instrumental as to her power aspirations, which are expected to only be wholly in line with that of Pius. But as of this moment, we do not know that of course and so the most reasonable thing for us to do now is to postpone judgment of Gisela’s statement by declaring it a case of Suspended Deception — which may still go both ways: either developing into genuine deception, or fizzle out into innocent nothingness (the morally clean and sincere sociable gestures they would then constitute).

As to the polarities chosen, Gisela paints an awfully flowery picture of each of the objects she drags into the affair; and because she gives them all more flattering image impressions than reality would agree with (provided it’s true that she is in fact secretly deceiving the lot), they are all granted positive polarity.

2. Suspended Scene of Immorality-stage: Gisela initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Gisela-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Victims/ – Using Verbality&Name&Body/;
{}|{+} Gisela-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Gisela/ to [Lie | Speak Truthfully] to Audience/ about Victims/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Gisela/ [Lying | Speaking Truthfully] about Victims/ – Using Verbality&Name&Body/;
{}|{+} Gisela&Lena(&Doro&Dieter)-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Gisela/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the other, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Gisela incurs conditional authentic guilt toward all involved in her act of Deception — Doro&Dieter, more toward Lena, and especially toward Gisela herself; |5.3})

Down at the workshop, Daniel AKA Hans finds himself alone for a moment and seizes the opportunity to snoop around. He finds a key, uses it to open up a cabinet and retrieve a hand-held camera. When his supervisor suddenly comes back audibly looking for him, “Hans” slips back into character.

Bernd: Hans? Where is that bloody moron? Hans! (finds “Hans” in a space off-limits) What the fuck are you doing?
Daniel: Nothing. I, I, I need to pee. ({5.4})
Bernd: (alarmed) Did, did you pee in here?
Daniel: No.
Bernd: Did you piss into any of these containers?
Daniel: Uh, no.
Bernd: Take a piss outside. Dammit.

Daniel has been caught nosing around in forbidden places, but by relying on the personal (body-based) image of innocence that retards automatically radiate, cleverly manages to avoid punishment.

({5.4| Daniel’s infraction may be described by the following truncated script (its stage three discussion is the same in character as that of script ({5.2})):

i. Psychic Abuse of the Deception kind: Level = Moral Error; Perp = Daniel; Victims = Daniel&Bernd; Audience = Daniel&Bernd;

1. Incoming-stage: Daniel initiates the inspiration of an Abstract. . .
{+} Daniel-Pidol: [X] I was doing nothing (worthy of suspicion, let alone condemnation); [X] Needed to pee, [M] and was looking for a place to relieve myself;
{+} Bernd-Pidol: [M] I have nothing to worry about, [M] because I’m dealing with a retard who happened to get lost, [M] ending up in a forbidden place by accident;
Abstract Pidols are distributed over Audience;

Daniel paints an explicit picture of himself marked by undue innocence and an implicit image of Bernd marked by undue absence for a need to be concerned. Since both images are therefore more flattering than reality and the truth permits, the two Pidols get to have positive polarity.  

2. Scene of Immorality-stage: Daniel initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Daniel-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Victims/ – Using Verbality&Name&Body/;
{}|{+} Daniel-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Daniel/ to [Lie | Speak Truthfully] to Audience/ about Victims/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Daniel/ [Lying | Speaking Truthfully] about Victims/ – Using Verbality&Name&Body/;
{}|{+} Victims-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Daniel/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Daniel incurs authentic guilt toward everyone he involves in his act of Deception — Bernd, and especially toward Daniel himself; |5.4})

5.1 Doro and Dieter, what a perfect match. . .

It has turned evening when Gisela suddenly rushes into the bedroom of the dormitory of the girls. In perfectly-fitting commanding voice, void of any hint of sympathy for sleeping ones, the older woman brusquely orders Doro to right away come along with (({5.5a}) and orders the remaining girls to resume sleeping. Immediately after a loudly protesting Doro had been virtually dragged out by a nevertheless insistent and imperturbable Gisela (({5.5b}), as soon as the door of their room again slams shut (or thereabouts), unlike the rest of the girls seemingly held down in either the debilitating grip of fearful apathy or plain old sleep-drunkenness, a perspicacious and rebellious Lena–determined to find out what the hell is going on–gets up silently, sneaks out of the dormitory and–while drawn to the conspicuously audible sound of a youth singing nearby–runs up to one of the uncurtained windows of the building releasing said singing sound into the surrounding outside atmosphere, crispy and crickety.

Note however, that the girls their apparent apathetic response (apart from Lena’s) to one of their own being dragged out in the middle of the night to God knows where, also constitutes a reaction that is perfectly consistent with the rule which Gisela implicitly reinforced with respect to the girls the other day over at the field (what are you cows staring at?, Gisela rhetorically asked, remember?). The accompanying feat of brainwashing therefore seems to have gone down well since none of them (apart from Lena) seems to bat an eye, showing no willingness at all to make any sort of fuzz about what is now going down (and south).

The set OtherGirls comprises of all remaining girls present right now in the bedroom of the dormitory (about four, including Ursel).

({5.5| Gisela’s twin infraction may be described by the following two truncated scripts, of which the stage three discussion is given at the end of the second one:

({5.5a| i. Psychic Abuse of the [M.SV] Immoral Order kind: Level = Moral Crime; Master = Gisela; Servant = Doro; Audience = Gisela&Doro&Lena&OtherGirls;

1. Incoming-stage: Gisela initiates the inspiration of an Abstract. . . 
{+} Gisela-Pidol: [X] To have Doro come along right away;
{} Doro-Pidol: [X] To come along with Gisela right away;
Abstract Pidols are distributed over Audience;

Master Gisela is ordering Servant Doro to victimize self by suspending personal autonomy and follow the direction of Gisela against personal will. Hence, it’s a two-party [M.SV] Immoral Order. 

2. Scene of Immorality-stage: Gisela initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Gisela-Pidol: (Engaged in || Entitled to) – in front of Audience/ – [Immorally | Rightly] Ordering Doro/ to [Victimize | Prepare] Doro/ – Using Verbality&Name&Body/;
{}|{+} Gisela-Pidol: (Being || Deserving to be) – in front of Audience/ – Used in Verbality&Name&Body/ by Gisela/ [Immorally | Rightly] Ordering Doro/ to [Victimize | Prepare] Doro/;
{}|{+} Doro-Pidol: (Being || Deserving to be) – in front of Audience/ – [Immorally | Rightly] Ordered by Gisela/ to [Victimize | Prepare] Doro/ – Using Verbality&Name&Body/;

{}|{+} Doro-Pidol: (Being || Deserving to be) – in front of Audience/ – designated to be [Victimized | Prepared] by Doro/ on [Immoral | Righteous] Order by Gisela/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Gisela incurs authentic guilt toward all involved in passing her Immoral Order — OtherGirls&Lena, more toward Doro and especially toward Gisela herself; |5.5a})

({5.5b| i. Physical Abuse of the Body kind: Level = Moral Crime; Perp = Gisela; Victim = Doro; Audience = Gisela&Doro&Lena&OtherGirls;

1. Incoming-stage: Gisela initiates the inspiration of an Abstract. . . 
{+} Gisela-Pidol: Being Superior with respect to Doro by [M] disrupting her sleep, [M] overriding her autonomy, [M] dragging her away against her will, [M] to a location also against her will, [M] where she’s put on display (in front of an ominous group of salivating men) likewise against her will; 
{} Doro-Pidol: Being Inferior with respect to Gisela by being [M] disrupted in my sleep, [M] overridden in my autonomy, [M] dragged away against my will, [M] to a location also against my will, [M] where I’m put on display (in front of an ominous group of salivating men) likewise against my will;
Abstract Pidols are distributed over Audience;

2. Scene of Immorality-stage: Gisela initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Gisela-Pidol: (Engaged in || Entitled to) Bodily [Abusing | Preparing for Healing Treatment] Doro/ in front of Audience/ – Using Name&Body/;
{}|{+} Gisela-Pidol: (Being || Deserving to be) Used in Name&Body by Gisela/ to Bodily [Abusing | Preparing for Healing Treatment] Doro/ in front of Audience/;
{}|{+} Doro-Pidol: (Being || Deserving to be) Bodily [Abused | Prepared for Healing Treatment] by Gisela/ in front of Audience/ – Using Name&Body/;
Each exposes PrimePidol audiovisually to others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Gisela incurs authentic guilt toward all involved in passing her Immoral Order — OtherGirls&Lena, more toward Doro and especially toward Gisela herself; |5.5b}) 

3. In terms of actualization, not least because of operating on orders of Pius, also due to giving off every impression of relishing in her part as being Pius his loyal lieutenant of the female division, Gisela is only expected to in effect actualize (necessarily) by euphemism the Pidols which she brought into reality through executing her double moral infraction — seeing it then either as a justified form of “punishment” or entirely vindicated preparation for “treatment”. The fact that none of the girls show any overt sign of even wanting to rush to Doro’s aid, might count as circumstantial evidence that for-all-practical-purposes they either do not object or not enough so. Whether they would go so far as to actually side with Gisela remains to be seen, but their apparent apathy does not inspire a whole lot of hope that they are on Doro’s side. Only Lena shows sufficient intactness of humanity when she secretly sets to find out what’s going on, and I expect her to only disapprove of what Gisela is making Doro do — thus consistently refusing to adopt the Pidols which Gisela came to release into the ether: not the stage two ones assuming accurate offense-interpretation, and certainly not the stage one ones together with the stage two ones assuming a euphemistic offense-interpretation.

In terms of conscience and sacrifice, what Gisela is doing does not make sense in terms of her authentic conscience seeking Golden Rule-compliance; but is more easily understood relative to her inauthentic power-seeking conscience. By dragging out one of the girls in the dead of night, Gisela gets to show her exceptional personal power (of grabbing and moving females around at an apparent whim); she gets to show in front of all the girls present in the room just who has the special transcendental authority to burst right into anyone of their lives, only to boldly hijack complete autonomous control of the female at hand if Mother Superior so desires, under any arbitrary circumstances, whether it is convenient or appropriate for the female at issue or not (at all).

The pretty much unavoidable long-term outcome that Gisela, through her wanton abuse of power, only promotes fear for and notoriety as to her person does not seem to deter her (in the least bit). Her sadistic and authoritarian initiatives clearly show that she is not looking to be loved, at least not in the Golden Rule-compliant sort of way in which recognition for personal equality and equivalence reigns supreme. Rather, Gisela shows to be looking for opportunities to express power and savor its rush; looking to be worshiped, not loved; looking to be obeyed blindly by rote (coming from good little girls [and women] only), just like Pius is also being obeyed by blind rote (thus making Gisela out to be a bit of a mini-Pius). Hence, the sacrifices that she forces and allows herself to make on the symbolic altar devoted to her thematic practice of Power-seeking Self-idolatry, in terms of sacrificing quality of her potential relationship with any of the girls (and women) she goes on to victimize, in effect, to her must seem worth while. |5.5})

It turns out that the men–quite possibly all of them–have gathered inside; all of the women, however, have been excluded. . . with one exception. Doro, as if spellbound by paralyzing fear, is sitting sullenly on a small table in front of and facing the crowd of seated men — who seem to already be excited by the luscious anticipation of participation in a peculiar pending form of festive activity.

Also facing the crowd, standing next to Doro, is the source of the enchanting voice: a small boy singing with angelic abandon. At some point, Pius gets up, walks over to the boy, goes to stand right behind him and through one swift and decisive gesture with his hands suddenly and unceremoniously makes clear to the child that, as of this exact moment, his services are no longer required. He then briefly raises an arm, casually points in the broad direction of the crowd, and dismisses the perfectly-compliant little lad by softly saying: Go.

The autocratic leader now demonstrably and theatrically starts sniffing the air, as though detecting the sort of smell that not only should not be there, it moreover is not to be tolerated (any second longer, to make it sound even more dramatic). He turns his full attention to the one girl sitting in crouched position on the table for all men to see (and selfishly savor).

Paul Schäfer: (normal voice yet condemnatorily) No. It still stinks.
Crowd of men: (eager to affirm) Yes.
Pius starts walking around, as if making a point, the rising pitch in his voice betraying rising animation within.
Paul Schäfer: Not even this divine music can drive the devil out.
Crowd of men: No.
Paul Schäfer: I still smell the harlot; rotten to the core. ({5.6.i+ii+iii})
Crowd of men: Yes.
Paul Schäfer: (to Doro) It is not your fault, woman. But you have Satan inside of you. ({5.6.iv})
Pius wraps an arm around a frightened wide-eyed Doro, trying to cozy up; or, at least, [histrionically] trying to give the appearancewith a touch of mockery–to his all-male audience that he so does. The entire time, while quite possibly being busy spending about all of his focus on playing his part of cynical interrogator to {authentic-enough and therefore credible-enough}degree, the leader evidently remains utterly impervious to the distress oozing from the audibly shivering and sniffling girl.
Paul Schäfer: (full of overt condescension; looks away from her into the audience, with a devilish smile) So you want to marry, eh?
Failing the entire time to even make eye-contact with her tormentor, Doro is lost in another world, the scary sort of world you’d rather not want to be in.
There’s no compassion coming from Pius, and the obsequious crowd is no different as they implicitly suck up to their bully for a leader by bursting out in ridiculing laughter ({5.7.i}); and thereby directly encourage Pius to continue his reckless adventure into the eerie realms of sadism.
Paul Schäfer: (to Doro) Who would want to marry you, you ugly stinking cunt? ({5.6.v+vi}

More laughter follows from the crowd of men ({5.7.ii}), who all (apart from hopefully Daniel) are remarkably blind to the painful compassion-begging reality of a visibly shaken and suffering woman sitting and trembling right in front of their insentient noses; as if they all were under the influence of some drugged-up kind of somnambulatory spell–gripped by a strange form of conscience-overriding stupor-like mass-hypnosis–acting as if they with heart and soul have bought into the delusion, egosyntonic in a predatory way, that the one woman in their presence only deserves the psychically tortuous punishment of open humiliation and ridicule to which she has been subjected. The obvious implication being that, in their disturbed minds, the woman would not be a victim at all; but rather a transgressor, indeed, a victimizer, a sure source of spite and spleen, someone who would be so very evil, that any evil inflicted upon her would pale in comparison. . . and not even qualify to be called evil actually, but should rather be considered nothing more than an entirely vindicated form of punishment (annex healing treatment); as the tricky harlot would only deserve what’s coming to her.

As such, they would be strongly inclined to perceive and interpret the besieged girl NOT as someone who would be having perfectly justified and fairly extreme fear as to what horrible fate may await her while being at the malevolent mercy of a menacing mob of mad men made even more mad by a most malignantly mad master man; but RATHER, the men would see her and read her state of suffering as simply being nothing but rock-solid proof of someone ‘clearly’ betraying to have personal guilt for committing some, by implication, atrocious kind of offense; that she, as a result of perpetrating such unspeakably grave transgression, had only assumed a correspondingly-fitting pathetic countenance (plagued by a little bit of fear for punishment, that’s all); ‘obviously’ nothing more than the direct consequence of having an underlying mental state which–in big, bold all-capital letters–had plastered, GUILTY AS CHARGED, all over it — indicating the sort of perpetrated sin which only begsyearnspleads to be redeemed with violent passion (according to a dyed-in-the-wool medieval tradition of purgative “healing”, not at all harrowingly superstitious, horrifically obsolete, hopelessly morally retarded and downright ineffective).

Paul Schäfer: (commanding) I cannot hear you, speak up woman.
Doro’s too petrified to speak, only gibberish stammers out.
Paul Schäfer: (cunning) I know who. (pauses; briefly studies the crowd; declares, with a touch of sneer) Dieter, right?
Suddenly Dieterwho until now had been sitting inconspicuously somewhere to the back–rises to his feet, his face tense with fear and shame; perhaps also betraying an origin in good-old-fashioned authentic guilt, whether he knows it deep down inside or not.
Dorothea: (finally managing) Die- Dieter.
Paul Schäfer: (perfectly calm) Dieter, Dieter, Dieter. What do you say to the proposal from this ugly stinking cow? ({5.6.vii})
While more sardonic laughter from the crowd of men pours over poor Doro and Dieter, ({5.7.iii}) Pius waits for the prospecting if implicitly group-ridiculed husband to gather the nerve to respond.
Paul Schäfer: Well?
Dieter: (Shame 1, Love 0) It stinks. ({5.8})

The bond Dieter is suggested to have with Pius, and – by extension – with everyman else present too since they unanimously back up their leader, evidently is stronger than the bond he is suggested to have with his very own fiancée (whom he, by the way, truth be told, according to Doro herself, has met only once before). This example goes to show the raw extent of power which Pius commands over his people. Dieter seems so terrified of being shamed by Pius (and gang of goons) if he were to defend Doro by openly acknowledging his pending matrimonial bond with her (and as such openly grant her worthiness and status among the men), that he would rather betray his love for her – minimize and trivialize it – by basically affirming the notion, false though it regardless is to palpably-evident degree, that she indeed must be the source of trouble, and a grave one at that, only dying to be taken care of, as Pius and his faithful all-male echochamber were alleging all along (and loudly so).

But this of course is absurdly untenable and unjust a situation. The level of respect which Pius has for Dieter and Doro shows, in bright and lively colors, when he nonchalantly delegitimizes and rebukes their relationship in its entirety. It’s not worth a damn to him, as he has no real respect for either one of the lovebirds. And yet, in spite of clearly not being able to lay claim to a loving and mutually respectful relationship with his leader, Dieter does show to yield–by so easily squandering his love for Doro–to what, in practice, is a superseding and stronger type of bonding with Pius (& Co.); one that nevertheless cannot be based on love, but chiefly fear instead: fear for suffering alienation and eventual rejection (from the group), fear for shame (in front of the men), fear for landing all-in-all into ‘unmanageably’ deep waters (requiring some, heaven forbid, novel and exploratory feats of personal independence and the ‘unbearably’ heavy yoke of personal responsibility that is to be heaved and towed with it).

Ever more intoxicated by sadistic amusement, the crowd of menshowing remarkable consistency in the rigorous uniformity of their responses–break out in laughter once more ({5.7.iv}) and thereby once again unambiguously and wholeheartedly show to condone the heedless extravaganza of their leader into the nefarious domain at which enjoyment is forcefully extracted at the painfully-serious expense of someone who happens to not be any random person grabbed from the streets (although that would still be bad of course) but rather someone belonging to their very own group (for crying out loud!).

Such alarming fact alone should have given arresting food for thought–if not to say, paramount concern–to anyone present who, at the same time, would be living in full truth, having a fully-activated empathic connection with the people around them, and who therefore would be fully aware of what shamelessly shady kind of theater they not just find themselves in, but are also actual part of, in a stimulating way even! They all seem oblivious to the at any rate painful fact of life that they are the grim sort of very actors who, for as long as they work to sustain the dreadful theatre macabre (vive la France!) in their midst, cannot help but accumulate costly karmic debt themselves, staggering moral cost accrued for being part of a group of servile souls lending active support to the depraved machinations of a sadist for a leader.

({5| The immoral actions committed in this chapter are described by a series of truncated scripts of which the stage three discussion covering them all is given following the tail of the last script of this chapter’s section.

({5.6| i. Psychic Abuse of the Prejudgment kind: Level = Moral Error; Perp = Pius; Victims = Pius&Satan&Doro; Audience = Pius&Doro&Gisela&CrowdOfMen[&Lena secret witness];

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{+} Pius-Pidol: [M] I can smell Satan inside of Doro {i}; [M] Am not a (male-counterpart of a) harlot {ii}; 
{} Satan-Pidol: [X] I am inside of Doro {iv};
{} Doro-Pidol: [X] I am a harlot {ii}; [X] Rotten to the core {iii}; [X] Have Satan inside of me {iv}; [X] Am an ugly stinking cunt {vi} & [X] cow {vii}, [M] whom nobody wants to marry {v};
Abstract Pidols are distributed over Audience;

Calling Doro a harlot {ii}, rotten to the core {iii}, an ugly stinking cunt {vi}, and an ugly stinking cow {vii}, are marked as insulting prejudices; the remaining clauses, {i+iv+v}, have been labeled as plain prejudices on Pius’ part since there is no way he could state with certainty the things which he off-the-cuff alleges to be factual.

As for the polarities chosen, Pius’ practice is unduly self-flattering and therefore positive — explicitly asserting to have the magical self-congratulatory gift of being able to smell demons inside of people; also implicitly asserting to not be a male harlot himself. Doro’s practice is unduly demeaning and therefore comes with a negative polarity. Satan is being prejudicially accused of possessing Doro, something which still remains to be seen; as such, his practice has been given negative polarity to reflect the unverified and unduly unflattering collateral accusation aimed at Satan (wherein the term “Satan” should be understood as loosely referring to any demon or set of demons, any demonic delegation – if you will, that may, or may not, have taken up residence in Doro’s body).

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Victims/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+}Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ [Prejudging | Soundly Judging] Victims/ in front of Audience/;
{}|{+} Doro&Pius(&Satan)-Pidol: (Being || Deserving to be) [Prejudging | Soundly Judging] by Pius/ in front of Audience/ – Using Verbality&Name&Body/;

Each exposes PrimePidol audiovisually to others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward all exposed to his acts of Prejudgment — Gisela&CrowdOfMen&Lena, more so toward Doro and especially toward Pius himself; |5.6})

The set CrowdOfMen consists of all the men that have gathered inside; Man is anyone member of CrowdOfMen.

({5.7| i. Psychic Abuse of the Prejudgment kind: Level = dubious Moral Action; Perp = Man; Victims = Doro&Man; Audience = Pius&Doro&Gisela&CrowdOfMen[&Lena secret witness];

1. Incoming-stage: Man initiates the inspiration of an Abstract. . .
{} Doro-Pidol: [M] Being ridiculous — not worthy of being taken seriously or sympathetically (at all) (4x)
{+} Man-Pidol: [M] The opposite of being ridiculous — worthy of being taken seriously and sympathetically (4x);
Abstract Pidols are distributed over Audience;

Each time the men laugh at Doro, they do so not because they are laughing with her, they are laughing at her — it’s Schadenfreude that’s propelling them. As such, the men seek to belittle their object of laughter; they infer Doro to be ridiculous, only worthy of laughter-mediated condemnation, signaled to be morally inferior (=unduly disparaging, hence: negative polarity); while they at the same time imply themselves to be the opposite of ridiculous, only worthy of being taken as seriously as Doro deserves to be ridiculed (=unduly self-flattering, hence: positive polarity).

2. Scene of Immorality-stage: Man initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Man-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Victims/ in front of Audience/ – Using Name&Body/;
{}|{+} Man-Pidol: (Being || Deserving to be) Used in Name&Body/ by Man/ [Prejudging | Soundly Judging] Victims/ in front of Audience/;
{}|{+} Victims-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Man/ in front of Audience/ – Using Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Man incurs authentic guilt toward everyone involved in his nonverbal act of ridiculing Prejudgment — Pius&Gisela&[CrowdOfMen minus Man]&Lena, but more so toward Doro and especially toward Man himself. Since Man is implicitly if actively supported by all other men in attendance, the guilt which Man incurs is shared by the other members of CrowdOfMen through copyinheritance. Since Pius benefits from his men sadistically encouraging him (in all likelihood, courtesy of prior brainwashing efforts, even expecting his men to encourage him), the total amount of guilt which Man ends up with as a result, is in turn shared by Pius through copyinheritance; |5.7})

({5.8| i. Psychic Abuse of the Statement under Duress with Prejudgment kind: Level = Moral Crime; Master = Pius; Servant = Dieter; Victims = Doro&Dieter; Audience = Pius&Doro&Gisela&CrowdOfMen[&Lena secret witness];

A Statement of Duress, in which Master pressures Servant to make some kind of statement which Servant is unlikely to make otherwise if acting in free and unrestrained manner, is modeled in two parts. One part is devoted to Master applying pressure on Servant to make the statement at hand, serving to victimize Victims. Since the statement is made under duress, it is immediately considered immoral for Master to do so. In turn, as for the other part, Servant commits an immoral action on his (or her) own by making said statement, deemed by construction an act of prejudgment. Since Master is pressuring Servant, Master gets to copyinherit the authentic guilt which Servant incurs due to making said Statement under Duress.

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{+} Pius-Pidol: [M] To have Dieter make the kind of statement that I want to hear;
{} Dieter-Pidol: [X] To make the statement that Pius is forcing me to make and the kind he wants to hear;  

Pius applies pressure on Dieter to initiate a potential practice of Abstract. . .
{} Doro-Pidol: [X] My proposal to marry Dieter stinks, [M] as does my relationship with him
{} Dieter-Pidol: [X] Doro’s proposal to marry me stinks, [M] as does my relationship with her; 

Abstract Pidols are distributed over Audience;

Regarding the latter of these two parts, the resulting authentic guilt which Dieter now incurs through in effect disseminating two Pidols over the pertinent Audience, will necessarily be shared by Pius through copyinheritance.

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Having | Helping] Dieter/ Make a Statement [under Duress] about Doro&Dieter/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ to [Have | Help] Dieter/ Make a Statement [under Duress] about Doro&Dieter/ in front of Audience/;
{}|{+} Dieter-Pidol: (Being || Deserving to be) [Pressured | Helped] by Pius/ to Make a Statement [under Duress] about Doro&Dieter/ in front of Audience/ – Using Verbality&Name&Body/;

Note that:
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Having | Helping] Dieter/ Make a Statement [under Duress] about Doro&Dieter/ in front of Audience/ – Using Verbality&Name&Body/;

…expands according to the two offense-interpretations into:
{+} Pius-Pidol: (Engaged in || Entitled to) Having Dieter/ Make a Statement under Duress about Doro&Dieter/ in front of Audience/ – Using Verbality&Name&Body/; accurate offense-interpretation;
{+Pius-Pidol: (Engaged in || Entitled to) Helping Dieter/ Make a Statement about Doro&Dieter/ in front of Audience/ – Using Verbality&Name&Body/; euphemistic offense-interpretation;

Pius applies pressure on Dieter to initiate a potential practice of Concrete PrimePidol-targeted. . .
{+}|{+} Dieter-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Doro&Dieter/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Dieter-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Dieter/ to [Prejudge | Soundly Judge] Doro&Dieter/ in front of Audience/;
{}|{+} Doro&Dieter-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Dieter/ in front of Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

Regarding the latter of these two parts, the resulting authentic guilt which Dieter now incurs through releasing three Pidols across Audience, will be shared by Pius through copyinheritance.

In summary, qualitatively, Pius incurs authentic guilt toward everyone involved in having Dieter Make a Statement under Duress  — Gisela&Lena[CrowdOfMen minus Dieter], but more so toward Doro&Dieter and especially toward Pius himself. In turn, Dieter incurs authentic guilt toward everyone exposed to his act of Prejudgment following from the imposed duty upon him to make his Statement under Duress  — Gisela&Lena[CrowdOfMen minus Dieter]&Pius, but more so toward Doro and especially toward Dieter himself. Since he applies pressure on Dieter to make his statement, Pius deserves to share in Dieter’s guilt through copyinheritance; |5.8})

Adaptive Machiavellianism vs Person-idolatry and Sadism (2/2) – Colonia (2015)

5.2 Sacrificing Doro’s health to soothe the anxiety of the men

Paul Schäfer: That’s right. That’s right, Dieter. It stinks. Why don’t you come up here and relieve your lover of her stench? ({5.9.i}) Those are the demons in her that you smell. ({5.10.i})(louder) That we must drive out! ({5.10.ii})
Crowd of men: (loud) Yes!
Paul Schäfer: So we can breathe again. ({5.10.iii})
Crowd of men: (louder) YES!!
Paul Schäfer: We must drive it out. ({5.10.iv})
Crowd of men: (even louder) YES!!!
Paul Schäfer: So we’re gonna breathe again. ({5.10.v})

Pius suggests that Doroowing to the unpleasant alleged odor supposedly lavishly emitting from her asserted demonically-infested body–would be the cause for everyman present to have difficulty obtaining enough revitalizing fresh air; difficulty gaining the soothing, calming and relieving satisfaction which normal respiration would bring, if only there were not such an insufferably foul stench seemingly hanging in the air right now. In other words, Pius posits among all present souls that the root-cause for any (allegedly foul-odor-induced) anxiety they seem to be suffering from at the moment, is the one very girl sitting right in front of them (in a full-blown yet completely unregistered state of shock, mind you). Pius thus declares Doro to be the singular cause of their collective anxiety (which may, in all fairness, also very well include conscientiously-based bell-ringing sort of anxiety brought about by participating in a rapidly escalating sadistic group-effort).

And the crowd take Pius‘ sermonizing of suspicious validity nevertheless reflexively in like heavenly wine, implying to fail to–even on superficial level–reflect critically on the moral nature as to what their leader has them believe; as if his words were nothing but samples of the most holy and elevated sort of gospel ever to have graced this rocky planet of ours with recital; as though it were all spoken by an infallible, irreproachable and utterly flawless God-like being (((who so nobly, selflessly and humbly had accepted the pure, stainless and inerrant ruling of Divine Providence to become the leader of the commune way back when it had all started; sent straight down from Heaven by God himself as if being some special sort of spiritual envoy having divinely commissioned authority to rule over all of those silly and moreover sinful mortals down there in the commune, whom all were to only be positively lost, already standing squarely with one foot in eternal damnation, if it were not for his Messianic sort of superior kind of guidance))).

In other words, Pius not only provides his men and himself with – at best – a remotely plausible and, at any rate, what to them must be an egosyntonically irresistibly-attractive explanation as to why they would be suffering from perhaps not entirely pleasant nervous excitement right that very minute; but he also provides themselves with a purportedly fail-safe way to relieve their agitated selves from their anxious predicament. The peculiar dynamism between Pius and his followers thus strongly suggests that the leader some time prior had managed to program, or brainwash, his followers to buy into the fanciful and moreover outrightly dangerous notion that there were to be found genuine relief(carrying a loudly-colored sure heavenly stamp of approval)in the act of inflicting (arbitrary) violence upon Doro.

That is, even though they – in actuality – will be carrying out a blatant exercise of physical sadism, in their perverted minds they are only going to be doing noble work, since – after all – they would only be working to drive out the internally-present evil sources of her and – by extension – everyone else’s (anxiety-ridden)(atmospheric) malaise. So that afterwards, after evil has been violently torn out at the roots and driven out from their midst with brutal if righteous force, they may, once again, indulge in the serenely sedative ambiance of wonderfully revitalizing fresh air which they – by implication — happen to be so used to, and or be so entitled to; as it would have such attractive potential to make them feel so at ease ((getting to have blissfully settling-down sort of feelings of relief; as if having had a really luxurious and satisfying sort of meal, well-lubricated with exquisite sorts of alcoholic beverages of course, coming only with a regal-caliber sort of dessert, even coming complete with a big fat after-dinner cigar if that’s your thing — or big fat joint, if that does it for you)).

It should be obvious that the men have fused and aligned their will with that of their leader, perfectly matching and consistently so. Since their leader, by being the bully he clearly is, deserves (by any objective and sober standard) to be labeled the aggressor, the men–by identifying not (one teeny-weeny bit!) with the victim but precisely (wholeheartedly and unreservedly) with the aggressor–by definition, may be thought of as being locked down in a state of trauma bonding with Pius. In other words, the men–while being perpetually and uncritically spell-bound by (in drooling awe of) their nonetheless openly abusive leader–have fallen victim to a (generalized) Stockholm Syndrome kind of pathological attachment to Pius. By blindly – in full surrender – worshiping their leader, the men have rendered themselves incapable of interpreting the immoral actions of their leader (against Doro, in this case) as indeed immoral (God Almighty–FAPP, AKA Pius–can’t possibly be immoral; simply too perfect and pure of being to be anywhere near evil, let alone wantonly so).

The consciences of the men effectively must have been decommissioned with respect to Doro and, in general, anyone designated by Pius to be sinful or evil (the poor inculpated soul at hand who were to then immediately qualify for the ne’er-getting-boring evergreen {purification of the soiled soul by way of sin-redeeming violence}-procedure). Instead, as long as they selfishly savor the seductively thrilling thrall of participating in the predatory events overseen by their terroristic leader, in order for them to manage preventing their egos from spiraling down in overwhelming inner-conflicting turmoil (and risk going completely mad), they will have to be able to rationalize away any abuse that Pius were to direct visiting upon whatever victim of his choosing — one whom, in their mesmeric myopic eyes, would therefore not be considered as such, but rather an offender of some kind, someone only deserving of their punishment, however severe deemed necessary.

So there you have your victim-blaming license of (arbitrarily) sadistic conduct; heavenly sanctioned of course. . . because Pius is only doing God’s work, as God would only want to see the members of his beloved most prized creation – all of them – be delivered from all those heinous (and correspondingly smelly) demons . . . as soon as possible and by any means necessary (. . . supposedly).

That Doro might in fact be possessed by demons cannot be ruled out, strictly speaking. She already committed a significant and real transgression by way of sacrificing her autonomy in exchange for blindly worshiping Pius, an offense committed most of all against her own person (apart from God), a type of infringement which the psychoanalyst Arno Gruen calls “the betrayal of the self” (and everyone is encouraged to read his fascinating and informative books). This is–I was taught by the human person overseeing my own deliverance on an earthly plane of existence–what demons love seeing us do: they love to see us acting abusively towards either one’s own being or one another as it would ultimately grant them some kind of metaphysical license to go and possess in actual fact the pertinent human violator.

As a result of being part of one big sadomasochistic enterprise involving lots of suffering, Dorolike any other member of the commune–is likely to at least have been exposed to the very real risk of demonic possession. It seems self-evident to me that demons naturally gravitate toward places where there is lots of human suffering generated (like this prison-like commune, but also regular prisons, mental hospitals and other places where there is an abundance of [self-]abuse going on); all sorts of sites of abuse at which those rather evil-minded invisible creatures (made of smokeless fire) would have the best of opportunities to add fuel to the fire, so to speak; the best of prospects to push through their sinister perversions of human will with the greatest of eases, producing the greatest of yields — all for the benefit of their age-old war against us.

Indeed, if demons have a habit of preying on human beings, having as aim to override and usurp conscious human control (as much as possible), they might just welcome (very much) any event of a potential human host relinquishing autonomous personal control, whether that host would be sacrificing their free will by surrendering in worship to another human being (like Pius) or something else (lesser other gods or idols); it doesn’t matter, as long as that free autonomous will–that full command over their own person–goes up in smoke; and, as a result, would be leaving an attractive vacancy for outside non-human spiritual entities, looking to have some iniquitously-minded fun, to move in, join the party and gladly fill in any gaping holes of will, lusciously-succulent corruptible will.

However, owing to his irresponsible (grievously Golden Rule-perturbing) use of power over the commune, it is far more important to recognize that precisely Pius himself might be possessed. Indeed, while Pius cavalierly declares Doro‘s supposed bad smell to be due to demons allegedly residing within her, what about the obvious alternative? — that any disturbing smell they collectively seem to detect is coming not from her but from him; that there would be smelly demons residing within the one person they nevertheless unflinchingly regard as spiritually spotless, courageous, commendable and exceptionally exemplary. If this is so, then Pius obviously is guilty of projecting the spiritual predicament that in actual fact is affecting his own person–which he then doesn’t recognize as such–away from himself and unto the poor girl being exposed to such a terrible ordeal; and such grave an issue, the painful matter of the leader (habitually) projecting evil away from himself unto designated scapegoats, would count as an indication of a serious (systemic) problem plaguing the commune.

Unlike she (who’s no danger and whose potential state of possession has little relevance beyond her own person), since–in sharp contrast–quite a few people are dependent on him (about one or two hundred), it is–beyond a shadow of doubtPius himself who so deserves to – first of all – be a natural focal point of (continued) critical review and assessment (e.g., administered by an elected panel of elders drawn from among his own people, forming a counsel. Unless your first name is ‘God‘ and last name ‘Almighty(which it isn’t), since omniscience is therefore well out of reach and so infallibility and flawlessness are likewise out of the question, since likewise omnipotence is not to be had and your personal power therefore being profoundly limited and plagued by serious and glaring insufficiencies: flush that autocracy bullshit down the toilet, pronto!).

For the further sake of ensuring rationality and justice of his rule, Pius very much owes it to the people under his control to undergo spiritual examination with the aim of finding out if he–in fact–would be possessed; and, if such is the case, to then also acknowledge the chief virtue (bordering on vital necessity) of having himself be put through the kind of deliverance procedure which, counter to his own blood-soaked brutality-promoting manual, should not involve the application of physical violence at all (nor preluding abusive violence directed at the psyche too, for that matter); but which would rather involve most of all a little bit of liberating magic raining down from Heaven, the kind which really does heal and purify ((for what it’s worth, although I can only speak for myself, I didn’t feel a thing when my own six demons were pulled out of me; not even when the staunchly stubborn master commander–the Jezebel spirit, the last demon standing–was removed from me involving lots of apparent spiritual violence, according to the human person overseeing my deliverance on an earthly plane. The conclusion of this whole multi-faceted deliverance procedure was also the moment, by the way, that I was knighted by that same person using a Bible, making me a Knight of God right then and there. The person doing so said she was never before in her career as deliverance minister instructed by the Holy Spirit to do what she then did)).

Paul Schäfer: (to Dieter) Are you just gonna stand there like a fool; that doesn’t help her, come on.({5.9.ii} (to his audience)What we do, we do with love! ({5.11.i})
Crowd of men: (loud) Yes.
Paul Schäfer: (to his audience) What we do, we do with love. ({5.11.ii})
Crowd of men: (louder) Yes!!
In other words, the punishment they are about to unleash on Doro would be based only on pure goodness; inflicting actually quite dangerous psychophysical shocks is going to only be in her best interest, coming solely from well-meaning men, animated purely by good-old-fashioned healing love. . . all for the, in principle, noble purpose of helping that poor girl getting rid of all those nasty life-quelling little devils.
While Doro is looking at her fiancé in puzzlement and fear, imploring him with pleading eyes not to go through with this, Dieter nevertheless musters to hit her right in the face with his stretched hand. ({5.12.i})
Crowd of men: (loud) Yes!
Invariably followed by a loud and unanimously encouraging Yes! from the crowd, Dieter slaps a horrified and agonized Doro in the face a few more times ({5.12.ii}) until he finally breaks down in tears and stops — an apparent victim of overwhelming conflicting feelings, partially self-induced and steeped in authentic guilt no doubt (whether he’s able and willing to acknowledge it or not).

({5.9| i. Psychic Abuse of the 3-party Immoral Order kind: Level = Moral Crime; Perp = Pius; Servant = Dieter; Victim = Doro; Audience = Pius&Doro&Gisela&CrowdOfMen[&Lena secret witness];

Note that there are three parties involved, Master Pius ordering Servant Dieter to Victimize Doro, hence it is a 3-party or [M.S.V] (em dot es dot vee) Immoral Order.

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{+}|{+} Pius-Pidol: [X] To have Dieter come up to Doro in order to [Slap her in the face | Relieve her from her stench];
{}|{+} Dieter-Pidol: [X] To come up to Doro and [Slap her in the face | Relieve her from her stench];
{}|{+} Doro-Pidol: [X] To see Dieter come up to me [Slap me in the face | Relieve me from my stench;
Abstract Pidols are distributed over Audience;

Rather than explicitly ordering Dieter to hit Doro in the face (with his stretched hand), Pius–corrupt that he is–couches his order in the more flowery indirect language, i.e. he casts his order in already a euphemistic form in which the victim supposedly is going to be relieved (or liberated) from her trouble. Hence, already the first stage requires to be described in terms of the offense-interpretation box.

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) – in front of Audience/ – [Immorally | Rightly] Ordering Dieter/ to [Victimize | Liberate] Doro/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) – in front of Audience/ – Used in Verbality&Name&Body/ by Pius/ [Immorally | Rightly] Ordering Dieter/ to [Victimize | Liberate] Doro/;
{}|{+} Dieter-Pidol: (Being || Deserving to be) – in front of Audience/ – [Immorally | Rightly] Ordered by Pius/ to [Victimize | Liberate] Doro/ – Using Verbality&Name&Body/;
{}|{+} Doro-Pidol: (Being designated || Deserving designation) – in front of Audience/ – to be [Victimized | Liberated] by Dieter/ on [Immoral | Righteous] Order from Pius/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

Note that:
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) – in front of Audience/ – [Immorally | Rightly] Ordering Dieter/ to [Victimize | Liberate] Doro/ – Using Verbality&Name&Body/;

…expands into the two offense-interpretations as follows:
{+} Pius-Pidol: (Engaged in || Entitled to) – in front of Audience/ – Immorally Ordering Dieter/ to Victimize Doro/ – Using Verbality&Name&Body/; accurate offense-interpretation;
{+} Pius-Pidol: (Engaged in || Entitled to) – in front of Audience/ – Rightly Ordering Dieter/ to Liberate Doro/ – Using Verbality&Name&Body/; euphemistic offense-interpretation;

In summary, qualitatively, Pius incurs authentic guilt toward all involved in passing his Immoral Order — Gisela&[CrowdOfMen minus Dieter]&Lena, but more so toward Doro&Dieter and especially toward Pius himself; |5.9})

({5.10-11| i. Psychic Abuse of the Prejudgment kind: Level = Moral Crime; Perp = Pius; Victims = Doro&Pius&CrowdOfMen; Audience = Pius&Doro&Gisela&CrowdOfMen[&Lena secret witness];

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{} Doro-Pidol: [X] My body smells because of the presence of demons in it {5.10.i}; [M] What is [violently] done to me by Pius&CrowdOfMen is done out of love {5.11};
{+} Pius&CrowdOfMen-Pidol: [X] I must help drive out Doro’s demons [using violence] (2x) {5.10.ii+iv}, so [X] I can breathe again {5.10.iii+v}; [X] What I do, is done with love [including violent acts] {5.11};
Rule-pidol: [X] What we do, we do out of love {5.11};
Abstract Pidols and Rule-pidol are distributed over Audience;

ad ({5.10}): It’s prejudicial of Pius to declare (with vanity and piety in his heart) that first of all Doro smells (insufferably) badly; that her alleged smell is caused by demons inside of her body; and that furthermore her particular (yet unconfirmed) spiritual predicament would grant automatic no-questions-asked license for the men to then rob the poor young woman of her sleep, autonomy, and dryly subject her to factual torture as they use humiliation and physical violence alike to try and drive out those demons alleged to be inside of her, the supposed culprits of their anxious collective misery and suffering.

ad ({5.11}): It’s likewise prejudicial of Pius, arguably ever more so, to declare (with vanity and piety in his heart) that the men collectively are only acting on the basis of love. Surely, by any objective standard, there’s no love for Doro to be found in subjecting her to factual torture. I am not denying that the men in principle are capable of acting out of love, but–in clear violation of the Golden Rule–they seem to direct most of it unto their leader (reflexively) instead of his chosen (scapegoated) victims — whom all are only in for quickly being turned a morally very cold shoulder on, if Pius so chooses.

As for the polarities concerned, what Pius and his faithful lot of sycophants are doing is to paint their own persons with a brush of undue stature, flattering themselves straight in the direction of high heaven as they endow themselves not by merit but by sheer decree with the otherwise extraordinary and hard-earned gift of the power of spiritual deliverance — using the nonetheless decidedly unspiritual means of humiliation and violence alike. At the same time, they paint and promote an awfully demeaning (super-unflattering) picture of Doro, severely disrespecting her by off-the-cuff accusing her of (a terribly smelly form of) demonic possession; and as they mistreat her using foul words and physical violence, they at the same time dare to euphemistically call it all: expressions of love. Hence, the polarity is chosen positive for the practices of the men and negative for Doro’s.

The slogan — what we do, we do with love — is furthermore taken to define a Rule-pidol, a practice of Rule-idolatry. The imposition of this behavior-corrupting rule upon the men at large serves to brainwash them into believing the dangerous fantasy that whatever they happen to do to someone, some woman victim in particular, is perfectly alright since it is all done out of love, not hate. Adherence to this hypnotic and terribly misguiding rule therefore serves to blind the men to the awareness that they be acting out in nevertheless veritably immoral ways. The men between themselves may manifest all the sadism in the world, but just so long as they are convinced to only be propelled by soul-warming sort of perfectly compassionate kind of love, would be prone to think being allowed to plausibly deny guilt for any moral disasters that just-the-same haplessly issue forth from their terribly misguided hands, their–what sadly more than anything are–punishment-eager terribly misguided hands.

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Victims/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ [Prejudging | Soundly Judging] Victims/ in front of Audience/;
{}|{+} Victims-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Pius/ in front of Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward everyone involved in his act of Prejudgment — Gisela&Lena, but more so toward CrowdOfMen&Doro and especially toward Pius himself; |5.10-11})

({5.12| i. Physical Abuse of the Body kind: Level = grievous Moral Error; Perp = Dieter; Victim = Doro; Audience = Pius&Doro&Gisela&CrowdOfMen[&Lena secret witness];

1. Incoming-stage: Dieter initiates an implicit potential practice of Abstract. . .
{+} Dieter-Pidol: [M] I am Superior with respect to Doro by slapping her in the face (4x);
{} Doro-Pidol: [M] I am Inferior with respect to Dieter as is evident by being slapped in the face (4x);
Abstract Pidols are distributed over Audience;

2. Scene of Immorality-stage: Dieter initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Dieter-Pidol: (Engaged in || Entitled to) Bodily [Abusing | Helping] Doro/ in front of Audience/ – Using Name&Body/;
{}|{+} Dieter-Pidol: (Being || Deserving to be) Used in Name&Body/ by Dieter/ Bodily [Abusing | Helping] Doro/ in front of Audience/;
{}|{+} Doro-Pidol: (Being || Deserving to be) Bodily [Abused | Helped] by Dieter/ in front of Audience/ – Using Name&Body/;

Each exposes PrimePidol audiovisually to the others of Audience, audially to self;

Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Dieter incurs authentic guilt toward everyone involved in his act of Physical Abuse — Pius&Gisela&CrowdOfMen&Lena, more toward Doro and especially toward Dieter himself. Since Dieter was acting under direct coercive authority of Pius, the leader deserves to share through copyinheritance in Dieter’s incurred guilt. |5.12})

Pius acts as if he’s under the impression (odd, but not surprising anymore by now) that, instead of being Dieter‘s own doing, it was Doro who somehow had succeeded to halt his punishment of her; as if the sly witch she is suggested to be, had beforehand succeeded to enslave her fiancé’s mind and through deploying some suggested (yet unverified) occultic witch-craft sort of mind control gimmick had magickally managed to make the other stop what Pius seems to believe, and vehemently so, only constitutes justified treatment. Pius thus holds Doro responsible for supposedly messing with the head (and heart) of what he solemnly would believe is but a completely vindicated and authorized punisher (i.e., an implied to be, sure Agent of Deliverance).

Pius called Doro a harlot earlier and now confirmed it by calling her a whore. There seems a pattern here. Indeed, I think it’s safe to say that this constitutes the very charge which Pius has all but spelled out explicitly: Doro would be a corrupter of men, someone who uses their genitalia–possibly augmented with other bodily features such as an attractive face or sexy body–as devices of attraction to seduce men, only to milk them dry and leave them with drained, hollow and bankrupt souls (which would make her at once lowly and despicable, easily bordering on the unforgivable). In Pius‘ mind, Doro would be looking to not just tease and flirt with Dieter. Oh no, she would be out and about on the prowl with fangs already bearing out, dying to do nothing short of unbridledly spellbind the guy; indeed, unabashedly snare him hook, line and sinker; and then, of course, the unavoidable–lots of problems–would happen. Whatever Pius his precise objections are going to be, I guesstimate him to be damned if he’ll allow all of this godless would-be “defiling and desecrating disorder”all of this “sinful mayhem” – to occur on his premises; not on his watch (no sirree!).

As for the men: by blindly and loudly backing up their leader–as if carefree yet sharp-toothed littlekidsset loose in a bloodycandy store–the implicitly-fawning crowd of men may be interpreted as one big sanctioning amplifier of sadistically-manifesting will: <who> not only all-too-eagerly buy into Pius‘ sanctimonious escapade (with a bloody twist) taking place–on an abstract, imagined level–in his heedlessly self-elevating, fantastical and emphatically artificially sweet (saccharine) mental impression of a nonetheless stark, dark and – most of all – crimson-red kind of reality; but <that same group of men>–effectively collectively acting as a perfectly-obedient well-disciplined military unitalso actively promote the execution of their leader’s sadistic outbursts by way of their consistent and uniform chants of endorsement.

Enjoying the backing of a small army of loud and reflexively-supportive sycophants, Pius has set his mind on acting upon what he must passionately believe is a de-facto holy declaration, nothing short of a divine decree stipulating that Doro would only be perfectly worthy of her liberatingly purifying punishment and that–as an inescapable consequence–any obstructive effort (coming from whomever) trying to prevent her from getting what they all are convinced is perfectly hers to receive, is seen–by Pius and servile disciples alike–as profoundly unjust in itself (in fact, the very work of the devil) and therefore, without a shred of doubt, only worthy of immediate overruling and absolute censoring. They are supposedly trying to drive the putative devil out (from this sly apparent witch coming equipped with a seemingly dangerous and treacherous pussy-trap), a course of action which – in principle – does not necessarily have to be without merit and payoff (under less violent circumstances); but the bewitched and stubbornly-befuddled boys unfortunately blind themselves from recognizing any sort of evil in their own attempts to crush any intervening competing effort seeking to “sabotage” what these poor deluded bastards imply to only sacredly believe is God’s noble and peerless work manifesting on their earthly plane of existence, right in their midst, and right this very minute.

Note also that Pius is (psychologically) projecting on Doro the trait of seeking to enslave the heart and mind of another person. After all, being the unambiguously dictatorial cult-leader that he clearly is, Pius may be expected to very much rely on having his people being dependent on him, especially his mind; more (industrial-strength-sort-of) dependency, in fact, means better (industrial-strength-sort-of) obedience and thus better (industrial-strength-sort-of) control [[[gimme, gimme, gimme more of that yummy (industrial-strength-sort-of) *!power!*]]].

Pius therefore likely relies on a host of mind control techniques, all with–what to him would be nothing more than–the perfectly divine and purely noble aim of ensuring that his flock also remains his flock (of bleating bloody sheep)using blinding spellbinding gimmicks from his Machiavellian bag of tricks to keep having them in sweetly servile modes of existence: sadistically malleable men (and boys) versus masochistically malleable women (and girls). And so, evidently unwilling to acknowledge (or plainly incapable of acknowledging) what he himself was doing–as mandatory matter of habit and routine–to each and everyone person walking around in the commune, the man, the master hypnotizer (and self-hypnotizer), in an impenetrable blinding haze of hypocrisy, manages to pretend–openly allege–that it would be (not himself at all! but only) Doro who had stooped to the, by inference, so incredibly very wicked practice of *!enslaving hearts and minds!* . . . (yes, that’s right, you read *!that!* right!)

5.3 Saving Doro by accident

Paul Schäfer: (puts a ‘consoling’ arm around a shattered Dieter) Dieter, Dieter, Dieter. The whore has enslaved you.({5.13})
Crowd of men: (loud) Yes!
Paul Schäfer: (accusingly points to Doro) That’s the work of the devil!({5.14.i})
Crowd of men: (loud) Yes!
Paul Schäfer: (passionately points to Doro; loud) That is the work of the devil!! ({5.14.ii}) (invitingly gestures to his audience) Why don’t you come up here and help her. ({5.15})

The rabid wild-eyed mob of men keenly leap to their feet, and rush over to a by now loudly and frantically screaming Doro. Three of them instantly pin an aghast victim–already blood-nosed–right down on her little table slash sacrificial altar; while one of them eagerly mounts and straddles the poor girl, wasting no time at all to start – mind youpunching her dead-smack in the face. ({5.16}) All the while, Pius can be seen standing a mere few feet away to the side, gripping with both hands–if you can believe it–the face of poor Dieter, contorted in agony, forcefully trained on what is taking place on and around the little table, all to make sure (the loving and caring father-figure dear Pius would be) that the broken and weeping fiancé gets to have a first-class front-row viewing spot to an unfolding kind of scene, starring his very own would-be wife, that might just as well have been taken straight out of a horror movie.

Fortunately for the girl, and–in a Karmic sense–fortunately for every single one of those demented men involved, after their defenseless victim (effectively acting as their choice sacrificial sin-absorbing scapegoat) has had to endure a few sure fists in the face, one of the men (Kurt)–standing removed from the scene of horror a bit further down in the room–suddenly notices the silhouette of a shocked and alarmed Lena peering through the window; thus–as it happens–signaling the end of their frightening excursion into an expression of sadism that had graduated from an already traumatic psychic form to an especially-worrisome arbitrarily-hazardous physical counterpart.

Facilitated by Lena’s accidentally-detected presence, Doro is prevented from getting lynched on the spot, even though instead would still end up in hospital for wounds sustained — courtesy of an irate crowd fanatically whipped up into a bloody frenzy by a leader high as hell on sadistic grandiosity of a religious bent.2

({5.13| i. Psychic Abuse of the Prejudgment kind: Level = Moral Crime; Perp = Pius; Victims = Doro&Pius&Dieter; Audience = Pius&Doro&Gisela&CrowdOfMen[&Lena secret witness];

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{} Doro-Pidol: [X] I am a whore; [1]
{+} Pius-Pidol: [M] I am not (the male counterpart of) a whore; [1]
{} Doro-Pidol: [X] I have enslaved Dieter; [2]
{} Dieter-Pidol: [X] I am enslaved by the whore [meaning Doro]; [2]
{+} Pius-Pidol: [M] I have not enslaved Dieter; [2]
Abstract Pidols are distributed over Audience;

I’m sure there is (mutual) attachment involved between the two lovebirds (since such is only natural to be expected in any romance), but I have deemed it prejudicial on Pius’ part when stating that Doro went so far as to enslave Dieter, meaning that Doro were to have gained full control over her fiancé’s heart and mind. In addition, the polarities of Doro and Dieter their practices [2] were set to negative due to the obviously terribly unflattering and indeed outright degrading pictures being painted of either one of them.

By insulting Doro through calling her a whore, Pius is condemning the general state of being a whore [1]. He is saying that being a whore is bad, only worthy of his impassioned condemnation, and as such implies to say that he cannot possibly be (the male counterpart of) a whore himself. The same goes for his act of plain prejudice [2]. By accusing Doro of having enslaved Dieter, Pius is saying that enslaving people is bad, only worthy of fierce condemnation, and as such implies to say that he himself cannot possibly deserve blame for enslaving people, in particular Dieter. Since both practices of Pius [1]+[2] paint therefore an unduly flattering picture of the cult-leader, they obviously get to have a positive polarity.

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Victims/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ [Prejudging | Soundly Judging] Victims/ in front of Audience/;
{}|{+} Victims-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Pius/ in front of Audience/ – Using Verbality&Name&Body/;

Each exposes PrimePidol audiovisually to others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward all exposed to his Insult and act of Prejudgment — Gisela&Lena&[CrowdOfMen minus Dieter], more so toward Doro&Dieter and especially toward Pius himself; |5.13})

({5.14| i. Psychic Abuse of the Deception kind: Level = Moral Error; Perp = Pius; Victims = Doro&Satan&God&Pius; Audience = Pius&Doro&Gisela&CrowdOfMen[&Lena secret witness];

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{} Doro-Pidol: [X] I am doing the work of Satan by successfully making Dieter stop hitting me (2x);
{} Satan-Pidol: [X] Doro is doing my work when making Dieter stop hitting her (2x);
{} God-Pidol: [M] Pius is doing my noble work;
{+} Pius-Pidol: [M] I am not doing the work of Satan, indeed, [M] am only doing God’s liberating work;
Abstract Pidols are distributed over Audience;

By severely shaming Doro (the devilish Dieter-enslaving whore she would be), by his efforts to place all of the blame on her for the odorous crisis they all are convinced is now plaguing them, Pius by implication is not just painting himself as completely harmless and free from blame; indeed, he is implicitly pretending to only be doing the bidding of God, seeking to only “liberate” the commune from someone who is supposedly victimizing every living soul in it by apparently emanating this horrible anxiety-causing putative smell. As such, the implicit practice of God (painting a terribly unflattering abuse-condoning picture of God) was granted negative polarity; while the practice of Pius was given a positive polarity (painting a terribly flattering self-picture).

Some may find it curious that I have reserved a practice for “the devil”, but fairness following from a consistent application of moral accounting only compels me. Satan is falsely accused of something that Dieter actually was doing: the boyfriend suddenly stopped directing physical violence at Doro — which is, ironically enough, objectively and relatively a good deed (which, by default, according to standard compassionate Christian lore automatically shouldn’t be attributed to Satan, and yet here is Pius doing so just the same). Hence, by falsely accusing Satan, Pius made the old devil look more guilty than he was in reality, and so the polarity of his practice gets to be negative. The same applies to Doro, likewise falsely accused of basically being an unscrupulous agent of evil — instead of the victim of psychic and physical abuse she in reality is.

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Victims/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ to [Lie | Speak Truthfully] to Audience/ about Victims/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Pius/ [Lying | Speaking Truthfully] about Victims/ – Using Verbality&Name&Body/;
{}|{+} Pius&Doro(&God&Satan)-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Pius/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward everyone whom he involves in his act of Deception — Gisela&CrowdOfMen&Lena, more so toward Doro&Satan&God and especially toward Pius himself; |5.14})

({5.15| i. Psychic Abuse of the 3-party Immoral Order kind: Level = Moral Crime; Perp = Pius; Serfs = CrowdOfMen; Victim = Doro; Audience = Pius&Doro&Gisela&CrowdOfMen[&Lena secret witness];

1. Incoming-stage: Pius initiates an implicit potential practice of Abstract. . .
{+} Pius-Pidol: To have CrowdOfMen come over and “help” Doro [with her demon problem];
{} CrowdOfMen-Pidol: To go to Doro and “help” her [with her demon problem];
{} Doro-Pidol: To be “helped” by CrowdOfMen [as to my demon problem];
Abstract Pidols are distributed over Audience;

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) – in front of Audience/ – [Immorally | Rightly] Ordering CrowdOfMen/ to [Victimize | Liberate] Doro/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) – in front of Audience/ – Used in Verbality&Name&Body/ by Pius/ [Immorally | Rightly] Ordering Lena/ to [Victimize | Liberate] Doro/;
{}|{+} CrowdOfMen-Pidol: (Being || Deserving to be) – in front of Audience/ – [Immorally | Rightly] Ordered by Pius/ to [Victimize | Liberate] Doro/ – Using Verbality&Name&Body/;
{}|{+} Doro-Pidol: (Being designated || Deserving designation) – in front of Audience/ – for [Victimization | Liberation] by CrowdOfMen/ on [Immoral | Righteous] Order by Pius/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward all involved in passing his Immoral Order — Gisela&Lena, more so toward CrowdOfMen&Doro and especially toward Pius himself; |5.15})

({5.16| i. Physical Abuse of the Body kind: Level = Moral Crime; Perps = Man1&Man2&Man3&Man4; Victim = Doro; Audience = Pius&Doro&Gisela&CrowdOfMen[&Lena secret witness];

We are dealing with a group effort at physical abuse (of the body kind), in which three men pin and hold Victim down, while another man straddles her and repeatedly punches her in the face. Since each of those four men is being helped by the remaining men, each of those latter men deserves to share through copyinheritance in the guilt incurred by the former man — thus causing each man to end up with the same amount of guilt: the collective total of the guilt generated by each of those four men. This seems a fair price for the men to pay and serves to justly underscore and capture the progressively dangerous aspect of abuse committed on the level of a group of perpetrators — which is an expression of abuse which progressively becomes more dangerous, the bigger the gang of Perps gets.

Note that in this script the following notation is used, ManX = Man1|Man2|Man3|Man4, i.e. ManX is either Man1, Man2, Man3 or Man4; Furthermore, ManY = Man2|Man3|Man4;

1. Incoming-stage: Man1 initiates the inspiration of an Abstract. . .
{+} Man1-Pidol: [M] I am Superior with respect to Doro by punching her in the face (3x);
{} Doro-Pidol: [M] I am Inferior with respect to Man1 as is evident by being punched in the face (3x);

ManY initiates an implicit potential practice of Abstract. . .
{+} ManY-Pidol: [M] I am Superior with respect to Doro by robbing her autonomy and pinning her down on the table;
{} Doro-Pidol: [M] I am Inferior with respect to ManY by being robbed of autonomy and being pinned down on the table;

Abstract Pidols are distributed over Audience;

Note that the above Pidol-declarations come down to in total four times two makes eight definitions (the ManY group carries triple representation).

2. Scene of Immorality-stage: ManX initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} ManX-Pidol: (Engaged in || Entitled to) Bodily [Abusing | Liberating] Doro/ in front of Audience/ – Using Name&Body/;
{}|{+} ManX-Pidol: (Being || Deserving to be) Used in Name&Body/ by ManX/ Bodily [Abusing | Liberating] Doro/ in front of Audience/;
{}|{+} Doro-Pidol: (Being || Deserving to be) Bodily [Abused | Liberated] by ManX/ in front of Audience/ – Using Name&Body/;

Each exposes PrimePidol audiovisually to the others of Audience, audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

Note that the Scene actually, since ManX stands for quadruple presentation, consists of four times three makes twelve declarations, with each line in turn standing for four further expandable sublines (two offense-interpretations for the Concrete and Abstract Scene).

In summary, qualitatively, ManX incurs authentic guilt toward everyone involved in his act of Physical Abuse — Pius&Gisela&[CrowdOfMen minus ManX]&Lena, more so toward Doro and especially toward ManX himself. However, ManX gets to share in the guilt incurred by the remaining men through copyinheritance, thus leaving ManX having the same load of authentic guilt as his three confederates. Since ManX acts on authority of his leader, Pius–in turn–gets to share through copyinheritance in the final load of guilt incurred by ManX; |5.16})

3. In terms of actualization, whether they egg on their leader in a direct sense by cheering him on or indirectly through ridiculing his victim or whether they act in the more active capacity of participating in the actual physical abuse of Doro, they all seem to have no problem adopt all Pidols (courtesy of being in the grip of euphemistic offense-interpretations) launched by either Pius himself or those acting on his behalf/command, with his implicit/explicit blessings. I likewise expect Gisela to adopt those same Pidols (also spellbound by euphemistic offense-interpretations only) since it is hunger for power rather than a yearning for compassion that seems to motivate her more than anything.

As for Doro, it is doubtful that the victim herself would be willing to actualize the idolatry practices that go at her painful expense (especially the practices launched by Dieter); but then again, who’s to say when she returns from the hospital that she retrospectively won’t side with her abusers? — by retrospectively then absorbing blame for it all, by somehow resolving to own up to her nonetheless artificial guilt by way of operating on (somewhat of) a masochistic attitude. If she would be willing to rationalize away her abuse, how would she interpret it? Is she then going to actualize the practices by accuracy or by euphemism?

Lena probably is the single one person of whom I can confidently state that she be least willing to rationalize away all she had the displeasure of witnessing. In fact, I expect her to oppose – with every fiber in her body – the adoption of any of the Pidols released into the mental ether by the abusive gang of maniacal men (neither those due to the accurate offense-interpretation, and certainly not all of them due to the euphemistic offense-interpretation).

As for Lena secretly witnessing the abuse specifically, she is finding out for a second time that Gisela cannot be trusted. When she was languishing in the field of thirst and Gisela initially comforted her by assuring the younger that the older would take care of it, only to minutes later sadistically rescind on her Good Samaritan promise, Lena would then already have a compelling reason to–as of that moment–mistrust her superior. And earlier this day when Gisela asked her for information about Doro’s engagement to what turned out to be Dieter, while even having the pretentious nerve to state what a great couple they made, yet–a mere few hours later–dryly making sure that Doro came to be subjected to the sadistic group-abusive treatment which she was, Lena again discovered that Gisela has a suspicious knack for acting as a two-faced snake (it was thus confirmed that her act of suspended deception, ({5.3}), was a case of actual deception, after all).

Then again, as already alluded to, it may very well be that Gisela in practice is not worried about women under her command ending up mistrusting her. She may even go so far as to welcome and encourage it, if it were to do no more than solidify her power while taking a page from Machiavelli’s manual of power acquisition when the historian of old argued in The Prince that it’s better for a leader to be feared than loved.

In terms of conscience, it should also again be obvious that the men are not acting on their authentic conscience seeking Golden Rule-compliance. Instead, it’s once more evident that they are guided by a rather singular inauthentic conscience handed down to them by their toxic leader: an artificial conscience that revolves around promoting power of the leader and seeking his praise. The men are like drones acting out their abuse while showing to have little of a functional mind of their own.

In terms of sacrifice, it is likewise evident that the group does not deserve to call itself Christian, because there is no recognizably Christian compassion to be found in seeking to so vainly and heedlessly sacrifice the well-being of someone from among their midst (to the point of inflicting severe trauma), all in order to essentially make them feel better about themselves. Indeed, their actions betray a rather primitive and pagan sort of underlying collective attitude, the sort of mentality that dictates the morally bankrupt and idolatrous necessity of appointing certain members of their own group to act as de facto scapegoats, sacrificial lambs which go on to serve as all-but certain human sacrifices (traditional offerings heathens made to supposedly appease the [anger of their] gods) all in order to, in their particular case, see to a relief of collective anxiety levels harbored by especially the men of the community (when they go around acting as male chauvinists targeting women with wanton sadistic abuse, gee, I wonder why). |5})

The late psychiatrist R.D. Laing wrote that Attempts to wake before our time are often punished, especially by those who love us most. Because they, bless them, are asleep. They think anyone who wakes up, or who, still asleep, realizes that what is taken to be real is a ‘dream’ is going crazy. Suppose for argument’s sake, just a little Gedanken-experiment, that in the crowd of men there was someone who had refused to join in the reckless goose-stepping gig of the hour: a rapidly aggravating predatory group-effort at the cardinal cost of one woman. Suppose that this person, a male immersed in a pool of like-minded fellow males, through whatever internal cause and or whatever external trigger, had begun to realize what kind of a horrible and horrific freak-show he suddenly found himself in. Suppose also that this man in the process of waking up would have expressed his refusal such that it was noticeable by the other men. Now the big question to ask of course is, how would his–let’s crank it up a notchprotestations (a perhaps growing list of moral misgivings dying to ventilate itself) be received by his male peers? What would Pius himself say and do?

If Laing is right, and I tend to go with him on this one, rather than having any ear for the “random ramblings” coming from this suddenly materializing “buffoon” (quickly rising to the point of abject “lunacy”) the men–spurred on, if even need be, by Pius–will be bound to think that there must be something wrong with old Heinz (or Jürgen,…); maybe he ate something bad, having a bit of a flu, bit under the weather, going delirious and so all of this verbal diarrhea came gushing out. . . you know what? — that’s probably it.

However, should – heaven forbid – his “rebellious maladies” persist, before long perhaps this poor sod too might be found getting rather odorous (ever more so); and – as such – might also very well be deemed (ever more so) in need of the ne’er-getting-tired {purification of the soiled soul by way of sin-redeeming violence} sort of routine. . . applied only with the utmost of care and love, that goes without saying, needless to say.

5.4 Pius vents his frustration out on Gisela

It was important to stress that the victim belongs to the same group as the mostly male perpetrators do, because, upon returning from hospital with the aim of resuming active commune-life, that same victim will be exposed to the very real risk of socially interacting with the kind of people who had directly contributed to her traumatic suffering. Due to their actively supportive role in bringing about Doro‘s abuse, each and everyone person involved went to incur a rather substantial measure of authentic guilt (whether conscientiously acknowledged or not) toward the poor girl; and so follow-up interaction with their victim–unless they come clean to her about their horrible behavior–will stand to be rife with automatically unpleasant sort of (guilt-induced) tension.

Let’s start with the one woman having had an active role to play in the unfolding of this tragedy, Gisela. Doro cannot avoid social interaction with her because she’s the female supervisor — meetings with her will likely be uneasy, to put it mildly. Gisela, however–too much in love that she shows every sign of being with her exalted powerful position as Pius‘ lieutenant of the female division–will be unlikely able and willing to humble herself by offering any form of apology to Doro. Indeed, seeing that she would see herself as quite literally superior and irreproachable as to anyone whom she’s bound to view as having lesser status (rank) than herself, I would expect Gisela simply to resolve projecting any form of guilt away from herself and unto Doro — viewed at once as deserving of whatever kind of punishment, albeit euphemistically redressed as some form of “healing treatment”, which ultimately their worshipful Godintheflesh sort of leader sees fit.

Probably – therefore – having to deal with an inflexible and eternally menacing Gisela, it would be all up to Doro to try and mitigate any tension brewing up between them. As such, if she cannot find a way to forgive a nevertheless clearly guilty Gisela, in order to help minimize or assuage any inherently emotionally-burdensome sort of hard feelings from her end, Doro might just prefer to absorb the entirely artificial and equally unjust load of guilt which so brutally had been forced upon her.

Since the frighteningly-challenging and unattractively-stressful alternative is to revolt–rebel like the true independence-craving adult human being she then would be–against the tyrannical and totalitarian rule of Pius and minions (armed not only with foul mouths and fists but guns and what not), I estimate her being partial to rather choose the way of least resistance by somehow resolving to blame herself (consistent with a masochistic sort of yielding attitude) for supposedly having stepped out of line, yada yada, by having had the stomach-churning audacity and temerity to strike up what turned out to be an unauthorized sort of romance, seeking a romantic relationship with someone who apparently unfortunately was off-limits to her (seeing that she would be too ugly and smell too badly, yada yada).

On to the men. Owing to their sizeable authentic guilt, the men will have to deal with natural and substantial fear for compensatory punishment (fear for revenge–Law of the Talion-style), typically becoming more pronounced the closer they happen to be to her (and their memory eventually would be jarred into jogging if being able to live-register their victim through the senses). Especially Dieter will have to process a particularly significant portion of guilt since he obviously let down his fiancée in such a brutally spectacular fashion. Although hard to accurately predict what will come of their relationship without having any further information to go on, from a purely rational vantage point, I have little hope there would still be a marriage in the post (then again, love is not synonymous with rationality per se). Let me state (what probably many of you likely only find is) the obvious: If I were her, I would be (exceedingly) reluctant to want to stay involved with someone whom so easily lets me twisting in the wind and whom furthermore not only betrays my love due to male peer pressure (of a most silly and infantile kind even!), but whom also has the senseless nerve to physically hurt me due to that same silly outside pressure, which is coming from the sort of people whom actually have no right (at all!) to interfere with my relationship.

Then again, maybe she’ll forgive him for his betrayal–however flagrant and telling it is–if he admits (if even able to) his bloody and weak-hearted folly to her; but–either way–their relationship would be unlikely to stand the light of day, while both suffer under their sadistic leader’s suffocating sway. He must therefore, first of all, free himself from servitude to Piusshake off this atrociously intrusive – invasive and life-draining spell to the mean mesmerizing master man–through, if need be, force-feeding himself with the undiluted naked truth, at once noble for its elegant simplicity and universal symmetry: that exercising personal (independency-seeking) autonomy is a natural right to be enjoyed by any living human being — as guaranteed by, and consistent with, the Golden Rule (and which should be denied only under special certain circumstances of overriding emergency, such as a person being or becoming a veritable liability or menace to society if left acting under their own free-willed autonomy).

As for each of the other men, in case he were to sustain a sure Close Encounter of the Third Kind with his victim, should it ever happen that the (depraved)(power-hungry) sadist deep down inside once again rears its ugly head and gets the better of him, the abuser at hand might just be triggered to attack her once more as he (yet) one more time would yield to the (egosyntonically-attractive) temptation to boldly deny his own nevertheless very real and authentic guilt, have furthermore the dry wits to project it unto her, and moreover also have the perfectly-blind balls to subsequently persecute her for it.

Sounds to me like a recipe for social disaster (if not blueprint for creating a hell on earth).

When members of one gender sadistically exploit members of the other gender on a suggested routine (pseudo-legal) basis, by thereby stacking the perpetrating gender in a state of (guilt-based) antagonism with respect to the victimized other gender, it’s no wonder that Pius seeks to maintain separation of the sexes in his commune. In addition, it should also be no great surprise if the women in the commune turn out to be especially submissive and masochistically inclined (!guilt-absorbing!) at heart; since their egos–after all–have to make sense of their abuse coming from (male-chauvinistic) sadistically inclined (!guilt-projecting!) men, whom–notwithstanding their repulsively oppressive and exploitative behavior–still do form part of the same overarching group as the women do, whom the women therefore cannot ignore and or run away from; assuming a (mildly) masochistic character trait would as such correspond with a relatively understandable roll-with-the-punches sort of a bending-for-fear-of-breaking kind of survival strategy.

Lena reflexively pushes herself away from the window and rushes back to the dormitory as fast as she can. Merely seconds after returning to her bed, Pius and Gisela also enter the dormitory. A suspicious but silent Pius walks across the beds, stops in front of Lena’s bed and inquisitively looks at her for a few seconds, but then leaves the room again with Gisela, who is now in for it. The sadistic leader directs his full attention on the female supervisor when they both stand just outside of the room in the hallway leading up to the room. While Lena cannot see Gisela, she can see Pius and she can hear what both of them are saying.

Pius: Take off your glasses. ({5.17.i})
Gisela: Pius, please.
Pius: Glasses off! ({5.17.ii})

When Gisela complies, Pius hits her hard in the face with his hand, twice. Gisela groans in pain as she falls to the ground. He then kicks her a few times in what appears to be the stomach area. ({5.18}) Gisela is obviously being punished for her evident failure to sufficiently control the girls under her wing of responsibility (even while one of them is being subjected to a factually torture-like experience).

The set OtherGirls comprises of all remaining girls present right now in the bedroom of the dormitory (about four, including Ursel).

({5.17-8| Gisela’s abuse by Pius may be captured by the following double script having a conjoined stage three discussion given at the end of the final one.

({5.17| i. Psychic Abuse of the [M.SV] Immoral Order kind: Level = Moral Crime; Master = Pius; Servant = Gisela; Audience = Pius&Gisela&Lena&OtherGirls;

1. Incoming-stage: Pius initiates an implicit potential practice of Abstract. . .
{+} Pius-Pidol: To have Gisela take off her glasses;
{} Gisela-Pidol: To take off my glasses;
Abstract Pidols are distributed over Audience;

Servant and Victim Gisela does not want to take off her glasses, and since there is no emergency need for it, Master Pius his order is deemed immoral.

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) – in front of Audience/ – [Immorally | Rightly] Ordering Gisela/ to [Victimize | Encourage Compliancy in] Gisela/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body by Pius/ – in front of Audience/ – [Immorally | Rightly] Ordering Gisela/ to [Victimize | Encourage Compliancy in] Gisela/;
{}|{+} Gisela-Pidol: (Being || Deserving to be) – in front of Audience/ – [Immorally | Rightly] Ordered – by Pius/ to [Victimize | Encourage Compliancy in] Gisela/- Using Verbality&Name&Body/;

{}|{+} Gisela-Pidol: (Being designated || Deserving designation)– in front of Audience/ – for [Victimization | Encouragement of Compliancy] by Gisela/ on [Immoral | Righteous] Order by Pius/  – Using Verbality&Name&Body/;
Pius exposes PrimePidol audiovisually to Lena&Gisela, audially to self&OtherGirls;
Gisela exposes PrimePidol audiovisually to Pius, audially to self&Lena&OtherGirls;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward all involved in passing his Immoral Order — OtherGirls&Lena, more toward Gisela and especially toward Pius himself; |5.17})

({5.18| i. Physical Abuse of the Body kind: Level = Moral Crime; Perp = Pius; Victim = Gisela; Audience = Pius&Gisela&Lena&OtherGirls;

1. Incoming-stage: Pius initiates an implicit potential practice of Abstract. . .
{+} Pius-Pidol: [M] I am Superior with respect to Gisela by hitting her in the face with my hand twice and kicking her four times while she’s lying on the floor;
{} Gisela-Pidol: [M] I am Inferior with respect to Pius by him hitting me in the face twice and kicking me four times while I’m lying on the floor;

Abstract Pidols are distributed over Audience;

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) Bodily [Abusing | Punishing] Gisela/ in front of Audience/ – Using Name&amp;Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Name&Body/ by Pius/ Bodily [Abusing | Punishing] Gisela/ in front of Audience/;
{}|{+} Gisela-Pidol: (Being || Deserving to be) Bodily [Abused | Punished] by Pius/ in front of Audience/ – Using Name&Body/;

Pius exposes PrimePidol audiovisually to Lena&Gisela, audially to self&OtherGirls;
Gisela exposes PrimePidol audiovisually to Pius, audially to self&Lena&OtherGirls;

Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward everyone involved in his act of Physical Abuse — Lena&OtherGirls, more toward Gisela and especially toward Pius himself; |5.18})

3. In terms of actualization, Pius is the absolute boss and is evidently not deterred from making an example out of even Gisela, who is apparently held responsible for failing to keep the remaining girls under sufficient control. As such, Pius would have no trouble to rationalize away the abuse he heaps upon Gisela. By way of seeing his actions not as constituting abuse but rather as nothing more than deserved punishment, he would be determined to in effect actualize by euphemism the Pidols which he brought into reality.

It remains to be seen whether Gisela feels the same way, but she might just do so regardless since it is Pius who grants her the power she shows to worship — and she might just be willing to bite the bullet at times if it enables her to cling on to her cherished station of authority. The masochist in her would then be actualizing her overlord’s Pidols also by euphemism. Depending on the goodness of her heart, Lena probably will show inner resistance to rationalizing away what Pius is now doing to Gisela. Then again, she might also resolve to take some satisfaction in the fact that Gisela is now being punished, if abusively; that the younger were to view that it’s now the older her rightful turn to be physically punished and humiliated, payback for so cruelly punishing Lena in the field the other day. Sadism, after all, has a remarkable knack for coming with an infectious streak.

In terms of conscience and sacrifice, Pius is obviously divorced from his authentic conscience when abusing Gisela for a dubious reason. Of course, he may buy into his own euphemistic fantasy of only being caught up in acting on “love” when beating up Gisela, that it would only be for her own good, but such is all egosyntonic whitewashing of physical abuse. There is no genuine love or care to be found for the victim in being subjected to wanton abuse, especially physical abuse, and especially still: physical abuse directed at a senior. Pius more than anything demonstrates his unshakable authority by proving to not hold back at manhandling even one of his lieutenants. By leaving no doubt as to who’s the king, the kind that does not kid around, Pius seeks to solidify his power conformal to a thematic practice of Power-seeking Self-idolatry. |5.17-8})

6.Day 38 — Now it’s Her Turn

Early in the morning, the women have assembled on the square as usual. Overseeing them again is Gisela, albeit this time sporting an ugly black eye (which, to some reasonable extent, suits her well).

The day begins with the PA-system announcing through the camp speakers: Your sister, Dorothea, has suddenly fallen very ill. She was taken to the hospital for treatment. Pray for her to get healthy and let her example be a reminder to us all. ({6.1})

({6.1| i. Psychic Abuse of the Deception and 1-party Implicit Conditional Threat kind: Level = Moral Error; Perp = Announcer; Victim1 = Doro; Victim2 = Everyone; Audience = Everyone;

1. Incoming-stage: Announcer initiates the inspiration of an Abstract. . .
{} Doro-Pidol: [X] I have suddenly fallen very ill (out of the clear blue sky); {lie}
{} Everyone-Pidol: [M] I too might suddenly “fall very ill” [in the future], if I break the pertinent rule; {victim of threat}
Rule-pidol: [M] If you are a woman, you are not to “sexually exploit” any of the poor guys of the commune; [M] If you are a man, do not get ensnared by a woman;
Abstract Pidols and Rule-pidol are distributed over Audience;

It should be obvious that Announcer at the very least is lying by omission. Doro did not fall very ill, she was the victim of a dangerous predatory assault executed at group-level. Announcer conveniently leaves out the traumatic truth and instead makes it seem as if Doro landed in hospital, “accidentally”, without any outside help (coming from demented male-chauvinistic men).

In addition, it may also be argued that the statement — let her example be a reminder to us all — constitutes an implicit conditional threat: you too might just suddenly fall very ill if you do something similar. And yet, even though Doro has been made a clear example of, it is not revealed who will do what to you, if you break the pertinent rule. And so the threat consists only of one party: you the would-be offender (careful not to turn into would-be victim). The threatening statement is obviously immoral if for no other reason than what was done to Doro (and Dieter) was obviously immoral and so what the leadership intends to do to any other future pair of lovebirds is likewise immoral. The sad theme that seems to be running through the commune like a crimson-red razor-sharp iron-thread slicing and dicing anything and anyone in its path, is that the leadership seems hellbent on destroying the romantic relationships that are bound to crop up in the commune almost by biological mandate.

From the implicit conditional threat may also be derived a rule which, by artificially raising it to idolatrous status as if it were one more crucially important social conduct type of rule to live and swear by, may also be said being broadcast across the population of the commune: do not ensnare a man, if you are a woman; do not fall for a woman, if you are a man. Note that this new rule is perfectly consistent with the rule promoting a segregation of sexes which Gisela passed unto Lena previously. Indeed, the corrupt leadership may use the Doro-event as “evidence” of what will happen (entirely “spontaneously”) when the sexes are not separated: Doro and Dieter tried to get married, you see, and now Doro has ended up in hospital because of it. Of course, just as with Doro, the likes of Gisela and Pius will be bound to leave out of the picture that she and the men will have decidedly causative roles to play in any similarly tragic future dramas; they will be determined to instead (reflexively) blame victims for the abuse which Pius himself nevertheless will be directing into being.

2. Scene of Immorality-stage: Announcer initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Announcer-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Doro/ and [Conditionally threaten | Warn Fairly] Everyone/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Announcer-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Announcer/ to [Lie | Speak Truthfully] to Audience/ about Doro/ and [Conditionally threaten | Warn Fairly] Everyone/ in front of Audience/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Announcer/ [Lying | Speaking Truthfully] about Doro/ – Using Verbality&Name&Body/;
{}|{+} Doro-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Announcer/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;
{}|{+} Everyone-Pidol: (Being || Deserving to be) [Conditionally threaten | Warn Fairly] by Announcer/ in front of Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to an unknown portion of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Announcer incurs authentic guilt toward everyone involved in his act of Deception and Conditional Threat — [Everyone minus Doro and Announcer], more so toward Doro and especially toward Announcer himself. However, it is only reasonable to assume that Announcer was acting on authority of Pius, and therefore Pius deserves to share through copyinheritance in the guilt now incurred by Announcer;

4. In terms of actualization and conscience, if Announcer is (not a complete drone and is) aware of the fact that he is lying (by omission), he will likely still rationalize away the lie he is broadcasting — actualizing Pidols by accuracy, if for no other reason than that he is acting on ultimately Pius’ authority and Pius his ‘divine’ if inauthentic conscience. If he isn’t aware he is lying, if he really (is a drone and) does believe the lie he is relaying throughout the camp, he then gets to actualize Pidols by euphemism — if for no other reason than that his critical thinking has been switched off, or at least severely suppressed, as to (morally relevant sort of) information coming with Pius’ stamp of approval, Pius his Supreme Stamp of Immaculately Illumined Approval.

As for the conditional threat he likewise broadcasts, if Announcer is (not a complete robot and is) also aware of the threat he propagates being an actual threat, he is likewise expected to actualize his own free-floating Pidols by accuracy. If he isn’t aware, if for-all-intents-and-purposes he is a robot, he is expected to actualize his Pidols by euphemism.

In terms of sacrifice, by promoting his propaganda about Doro, Announcer seeks to draw the commune away from the objective truth and therefore incurs authentic guilt toward each and every person around him, as he in effect tempts them to sacrifice a bit of their mental sanity as they buy into ultimately Pius’ grandiose fantastical narrative of life and how things come about in the commune (as if by magick; special courtesy of the witchcraft administered by evil odorous women). In addition, by relaying the implicit conditional threat which he did, Announcer deserves to be held responsible for concomitantly increasing the fear levels of the members of the commune — no-one would, after all, want to experience being put through the terrible sort of wringer that Doro was, now would they?

As a result, as harbinger of terrifying news with all its worrisome and stressful ramifications, Announcer may look toward being received by the rest of commune with a little bit more wariness and apprehension. While acting on authority of Pius, Announcer–agent of deception and terror alike–is responsible for sacrificing an unknown measure of quality in his potential relationships with the various members of the community; the same goes for Pius because the people know full well on whose authority Announcer was speaking.

As for the latter consequence, I think that deep down inside this is what Pius wants, that he in practice is looking to be feared, to be held in fearful awe, to be held ever more in the distant and remote sort of awe that a king used to be held in worshipful regard by his people — citizens that ideally are submissive and meek, groveling and obsequious. If, however, Pius would deny preferring to be feared rather than loved, I suspect him to then be conflating the term “worship” for “love”. Perfectly in line with his professed thematic practice of Praise-seeking and Power-seeking Self-idolatry, Pius would then want to be worshiped by his people but might just opt to euphemistically call it “love” instead — and, as such, grant his rule a more noble sheen, a more Christian ring to it, however pretentious and artificial it be in reality. |6.1})

A little bit later, Lena is walking outside and can be seen approaching Ursel. She furtively asks the veteran member of the community what Lena has to do to make an appearance in front of the men similar to Doro’s; but before Ursel can answer, someone at a distance cries out for her help. As Ursel sets out to lend a hand, Lena is left none-the-wiser — she has to figure out a way on her own.

When–a bit later on still–the women are working the grain fields, at the foot of a mealtime break, Lena manages to outsmart the watchful eye of Gisela and sneak off the field to go for a private skinny-dipping swim in a secluded small pond in the woods nearby. In the meantime, Daniel is surreptitiously snooping around in the workshop and snatches a handheld spot-light from a cabinet’s drawer.

That evening, while Daniel now has gone missing, Lena on the other hand must have been caught indeed for her little swim-solo stunt and that’s why she’s now sitting on display in that same room, in front of those same men, as Doro had been on that fateful other night. Presiding over this sadistic make-shift sort of a kangaroo court, again is Pius — Chief Prosecutor, Chief Justice and Chief Executioner all coming together into one volatile individual: smitten by unfettered megalomania, holding sway with a characteristic rod of iron, having an insatiable hunger for sin-redeeming blood and – arguably worst of all – accountable to — notonelivingsoul.

Paul Schäfer: (spiteful) So you fooled Gisela. Be my guest. That’s what she deserves; that fat, ugly, stinking cow. ({6.2})
With the robotic crowd of menas per well-established tradition–laughing approvingly in response, Pius gets intimidatingly up-close in Lena’s face.
Paul Schäfer: (softly; menacing) But that you would go and defile our water with your stinking, whorish, naked body. ({6.3})

In other words, we’ll give you a pass for having gotten the better of your female superior; but savor that as much as you want, it doesn’t matter because we’re going to nail you good-and-proper another way. We’re going to string you up – in fact – for violating what we now conveniently regard is a sacred and therefore absolutely unbreakable rule. You have supposedly soiled our supposedly precious (if not to say, holy) water with your uncovered supposedly unclean and defiling body. While we’re high on idolizing the nevertheless ridiculous rule stating that our water in the wild shall be kept free from contact with uncovered human skinespecially the patch covering the genitalia (in particular, of course, as it happens, the private parts of women)while we’re getting all jazzed up and bent out of shape for having found what in actuality is no more than a superficially plausible excuse (flimsy, at best) to persecute your offensive little derriere (smelly too), you are going to have to redeem your ostensibly grotesque sin by way of suffering at our punishing hands.3

And afterwards, after having seen to it that the hideous blemish is cleansed off (purged off with violent passion) which you so casually–yet so cruelly–had come to visit upon our de-facto Holy Rule, upon having concluded another shiny one of those good and wholesome deeds of deliverance, we all get to feel better about ourselves, relieved from all of that unmitigated toe-curling anxiety that would now still so very much trouble us; and which supposedly is traceable back (for everyman present) to an intolerably unpleasant odor, somehow supposedly hanging in the air ((which might in its entirety be perhaps nothing more than a figment of mass-imagination, a uniformly-natured mass-hallucination simulating the collective sensory registration of an ambient bad smell, possibly brought about by a momentary [demonically-facilitated-and-coordinated?] corruption of olfactory mass-perception; for the menacing mob of malevolent men are themselves ultimate victims of mass-hypnosis administered by the malicious master man running amok on much more than a mere modest misbehaving modicum of megalomania)).

({6| The series of transgressions perpetrated by Pius and his minions may be captured by a string of truncated scripts, coming up next. The pertinent stage three discussion will be given, collectively, near the end of the chapter.

({6.2| i. Psychic Abuse of the Prejudgment kind: Level = Moral Error; Perp = Pius; Audience = Pius&Lena&CrowdOfMen;

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{} Gisela-Pidol: [X] I deserve to be fooled; [X] Am a fat, ugly, stinking cow;
{+} Pius-Pidol: [M] I do not deserve to be fooled; [M] Am not (the male counterpart of) a fat, ugly, stinking cow;
Abstract Pidols are disseminated over Audience;

Why does Gisela really deserve to be fooled? For supposedly being a fat, ugly, stinking cow? Should that pass for a justification? By acting on an apparent whim of spite, I have therefore deemed it an act of prejudice on Pius’ part (a double act in fact: plain prejudice and insulting prejudice). In addition, by way of passing his prejudice, an indirectly self-flattering Pius suggests to not deserve to be fooled himself. By the same token, by way of leveling his insult (insulting prejudice), an indirectly self-flattering Pius implies himself to be the masculine negative of a fat, ugly stinking cow. Since Gisela is painted with a super-unflattering brush, her Pidol gets to have negative polarity; whereas Pius implicitly paints himself with a brush of undue flattery, the Pidol based on his own person is given positive polarity.

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Gisela&Pius/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ [Prejudging | Soundly Judging] Gisela&Pius/ in front of Audience/;
{}|{+} Pius(&Gisela)-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Pius/ in front of Audience/ – Using Verbality&Name&Body/;

Pius exposes PrimePidol audiovisually to others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward all exposed to his acts of Prejudgment — Lena&CrowdOfMen, more so toward Gisela and especially toward Pius himself; |6.2})

({6.3| i. Psychic Abuse of the Deception and Prejudgment kind: Level = Moral Error; Perp = Pius; Audience = Pius&Lena&CrowdOfMen;

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{} Lena-Pidol: [X] I have defiled the water in the pond, [X] with my stinking, whorish body (when in a naked state);
{+} Pius-Pidol: [M] I do not have a stinking, whorish body (when naked);
Rule-pidol: [M] You shall not spoil our water in the wild by contact with uncovered human skin, especially female skin (or face a fate similar to that of Lena);
Abstract Pidols and Rule-pidol are disseminated over Audience;

I have taken it to be a lie when Pius – or anyone else for that matter, claims that water in a pond–any pond–is defiled by contact with human skin, especially when it belongs to a woman. To accuse Lena of having a stinking whorish body (when naked) is taken to be an insulting prejudice, and Pius’ implication (by expressing his insult of Lena) that he himself would not have a stinking whorish body (when naked) is taken to be an indirectly self-flattering prejudicial remark (positive polarity).

In addition, a rather compelling directive may be derived from this ridiculous show-trial, a rule that is now being reiterated and disseminated across the entire courtroom: soil the water as Lena did (by simply wading into it nakedly) and you too will face the pseudo-legal wrath of Pius and his courtier male bloodhounds.

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Lena/ and [Prejudging | Soundly Judging] Victims/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ to [Lie | Speak Truthfully] to Audience/ about Lena/ and to [Prejudge | Soundly Judge] Lena&Pius/ in front of Audience/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Pius/ [Lying | Speaking Truthfully] about Lena/ – Using Verbality&Name&Body/;
{}|{+} Lena-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Pius/ [Lying | Speaking Truthfully] to Audience/ and Deserving to be [Prejudged | Soundly Judged] by Pius in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Pius in front of Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward all exposed to his acts of Prejudgment — CrowdOfMen, more so toward Lena and especially toward Pius himself; |6.3})

Pius turns around to face the crowd, evidently seeking to emphasize the seriousness of Lena’s heaven-upending transgression and thereby unequivocally communicates to everyman present wanting to be recognized–also by everyman present–as someone who would quite obviously only all-too-laughably easily qualify with flying colors to be given green light to continue going down what in actuality – regretfully – is but a pathetically shabby and (at best) dimly-lit sort of a sordidly sinister and exceedingly eerie kind of a capriciously crooked and terrifyingly treacherous type of a sadistic path (ghoul-infested too); but which–in their self-upliftingly delusional, hopelessly infantile and, most of all, wantonly predatory kind of group-mind–gets to be egosyntonically and euphemistically translated into what strongly appears to be nothing but a perfectly-inviting and really extraordinarily well-kept, truly immaculately lit (bright as day) and endearingly rosy sort of road — straight as an arrow (zero acrobatic maneuvering needed), not at all riddled with deviously-hidden limb-severing booby-traps (hospitals? what hospitals?), having only row upon colorful row of madly-applauding and zealously-cheerleading sort of angels (not at all belonging to the fallencategory one single bit) standing on both sides of the way (all the way!), the sort of way that were to only constitute a thoroughly just and flawlessly effective type of course which, beyond any possible shadowy hint of doubt (whatsoever), would be leading to no other possible destination (110% certainty) than the positive conclusion of another brilliant one of those insanely-blissful and – moreover – divinely-approved acts of deliverance. (. . . the sure stuff that legends are made of, eh?)

Paul Schäfer: (emphatic) Naked!
Crowd of men: (indignant) Oh!
Paul Schäfer: Defies belief. (turns to Lena again) I took you in like a daughter. I made you one of us. I gave you everything you need.({6.4.i+ii}) (turns to crowd) Hasn’t she lived here snug as a bug in a rug?({6.4.iii})
Crowd of men: (eager) Yeah!
It’s obvious that Pius tries to paint himself (also representing the commune at large) as a sure beacon of generosity and virtue galore, luxuriously radiating nothing but wave after sweltering wave of admirably philanthropic sort of soul-warming kind of support and sympathy to all . . . versus Lena: self-profiteering, opportunistic, egotistical and now also betrayer of good faith. It is apparent that the leader is trying to make himself look like the victim, one who couldn’t possibly be a victimizer if he tried and who therefore naturally were deserving of compensation for sustained grievances — inflicted by such a heartless, exploitative and clearly criminally-minded defendant.
Paul Schäfer: (to Lena; softly) Now you show your true face. For all women are full of lies, deceit and whorish demons. ({6.4.iv+v})

({6.4| i. Psychic Abuse of the Prejudgment kind: Level = Moral Error; Perp = Pius; Victims* = Pius&Lena&AllWomen*; Audience = Pius&Lena&CrowdOfMen;

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{+} Pius-Pidol: [M] I am not full of lies, deceit and whorish demons {v} {prejudice&self-flattery}; [X] I took Lena in like a daughter {i}, [X] Gave her everything she needed {ii} {prejudice};
{+} Lena-Pidol: [X] I was taken in by Pius like a daughter {i}, [X] Received everything I needed from Pius {ii}; [X] Lived in the commune snug, as a bug in a rug {iii}; {prejudice}
{} Lena-Pidol: [X] Show my true face (by defiling the water in the pond with my naked body) {iv}; {prejudice}
{} AllWomen*-Pidol: [X] I am full of lies, deceit and whorish demons {v}; {prejudice&insulting prejudice}
Abstract Pidols are disseminated over Audience;

The set AllWomen* is an irregular set, meaning that its members are not fixed as in the usual case of regular sets, but rather vary from Audience member to Audience member; it is meant to signify all of the women, including Lena, that some member of Audience happens to know (the existence of), and this (collection of known women) of course varies from person to person. Since it includes AllWomen*, the set Victims* is likewise an irregular set.

By the way, when Pius asserts that all women are full of lies and deceit and whorish demons, he saves himself from the otherwise egodystonic necessity to take Lena’s behavior personally (i.e., in a personal way), the sort of behavior he evidently views as grossly offensive. If we put ourselves in Pius’s shoes, he’s basically saying: Yes, Lena was trying to deceive the lot, including especially me, but no need for us (and me in particular) to take it all so very personal because, you see, that’s just what women do, all of them, they lie and cheat, because they all are incorrigible liars (and sluts); and so they can’t really help themselves from lying (and being slutty), it’s only in their very nature to do so; there’s nothing I can do about it, it has nothing to do with me, I am not responsible for such sad state of affairs at all (supposedly). Indeed, I am but a pure victim of the lies (and whorishness) of women, in general. I myself have done nothing to deserve being lied to (and therefore wash my hands in innocence).

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Victims*/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ [Prejudging | Soundly Judging] Victims*/ in front of Audience/;
{}|{+} Pius&Lena(&AllWomen*)-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Pius/ in front of Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

If we define the compound or pool set AllWomen to be the union of all AllWomen* sets (pooled across all Audience members), we may state that in summary, qualitatively, Pius incurs authentic guilt toward all exposed to his acts of Prejudgment — [AllWomen minus Lena], more so toward Lena and especially toward Pius himself; |6.4})

If this is how Pius really feels about women in general, it is obvious he hates them — like the true misogynist he then would be. However, truth be told, in all fairness, Lena did enter the commune on a ticket of deceit. Her whole stay, in fact, by pretending the entire time to be someone she in reality obviously was not (thank God), has been lavishly soaked from top to bottom in deception. She has, after all, been lying from day one about being a true devotee of Pius (when she much sooner holds him in contempt, sometimes even barely-concealed so). And although he makes a wildly depreciatory and obscenely hypergeneralizing claim (off-the-cuff prejudicial) about wholesale womanhood that is unlikely to have any bearing in reality (I should hope), it does have to be ceded that Pius does have a point, however accidentally made, when he implies her to be a liar (by inclusion).

It furthermore deserves mention that Lena must not be just any common liar, but a rather skillful and experienced one. After all, she obviously has the guts and confidence to lie repeatedly and persistently; and not only that but also while being in the sort of unchanging social habitat which stands to more-and-more become like a hostile environment to her, ever more like enemy territory, since she would be incurring more-and-more authentic guilt with respect to all the people she lies to and about, and keeps on lying to and about (inner conscientious tension steadily on the rise; possibly promoting progressive paranoia).

The same can be said for Daniel, who–if you watch the movie–so cunningly and convincingly manages to believably pretend being a retard during his entire stay at the commune. If Lena and Daniel were to get romantically involved on a serious level–and they also would want to keep it that way–in order to prevent their mutual trust being eaten away by mutual suspicion, each should therefore recognize to full extent both their own and the other’s proficiency at being credibly insincere — both are naturally exposed to the risk of using their skills of deception not just at times of (personal) emergency but perhaps also at less emergent and (personally) more convenient sort of situations (requiring, for example, some <proactive>, <remedial> or perhaps precisely <opportunistic> on-the-spot kind of ‘<ingenuity>’ . . .).

Then again, on the other hand, it has to also be granted that Lena was given barely any other option than to lie her way in. Indeed, the militant fortress-like nature of the communefenced-off and booby-trapped, isolated and fiercely defended by raving mad men brandishing lots of guns, while it is (almost) impossible to get out of voluntarily–thus can do little but to leave Pius being the great facilitator of a Lena resorting to deception in her–mind you–perfectly understandable and even relatively noble quest of retrieving someone in the commune who didn’t even deserve to be there in the first place (not that anyone would though); only to then altogether get the flimflamming fuck out of dodge together.

Although Lena manages better composure than Doro did, tears start to well up in her eyes regardless.
Paul Schäfer: (scornful&menacing) Your tears won’t save you. As any loving father should, I will now cleanse you of the demons that are within you. ({6.5i+ii+iii})
Pius softly touches the face of his victim with his hand as if to comfort her; and yet the gesture feels more than anything part of the old self-idolizing tyrant his (at best, only cursorily credible and actually quite flaky) role-play as noble father figure — having immaculate parental credentials (ahem!) and divinely endowed authority to rule the roost (yeah, right). Indeed, the disingenuity of his consoling action becomes abruptly clear when he immediately follows up with a callous and forcefully executed slap with his stretched hand right in Lena’s undefended face. ({6.6.i})
Crowd of men: (smelling blood) Yeah!
In spite of being slapped hard, Lena manages to remain calm and regain composure, as if she had been expecting all along that things would get rough. While she stares back at her assailant defiantly, basically turning the other cheek, Piusblind as a bat–hits her again, this time with an intrinsically harder backhand. ({6.6.ii})
Crowd of men: (passionate) Yeah!
Without deliberation (or consultation with any living soul present), Pius strikes Lena for a third time and now does so with such force, that it sends her flying from her seat, making her crash-land on a cold and unforgiving floor. ({6.6.iii})
Crowd of men: (all riled up) Yeah!
Fired up by a maddeningly intoxicating blood-lust by now, Pius orders his men to join him in the assault on the poor girl lying defensively-huddled on the floor.
Paul Schäfer: Come on! Show your brotherly love! ({6.7i+ii+iii})

({6.5| i. Psychic Abuse of the Prejudgment and [MS.V] Immoral Order kind: Level = Moral Crime; Perp = Pius; Audience = Pius&Lena&CrowdOfMen;

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{+} Pius-Pidol:[X] I am a loving father-figure {i}, [X] who is going to–as I should–cleanse Lena from the demons within you {iii};
{} Lena-Pidol: [X] I have demons inside of me {ii}, [X] that Pius–being like a loving father--is going to cleanse from me {iii};
Abstract Pidol is distributed over Audience;

Judging from the nature of his record of “parental” actions displayed until now, since he does not strike me as a loving father at all, but since I need to take care not to act as his (prematurely-acting) judge myself, his self-allusion of being like a loving father figure is taken as a prejudicial statement {i} (which is an improvement of verdict as I initially instead took it to be a plain lie). From what I’ve learned so far of Pius is that he first-and-foremost loves himself, i.e. his own Narcissistic person conformal to his cherished Messianic self-image.

Secondly, Pius implies that there are demons inside of Lena, a matter which still remains to be seen — thus defining his heedless implicit declaration to be yet another prejudicial statement {ii}. Since Pius follows up on some bullshit charge involving idolization of wild-water reserves and is evidently acting against the will of Lena, his declaration that he is going to cleanse Lena’s supposed demons is taken as an immoral order; involving two parties: himself as Master as well as Servant versus Lena as Victim — Pius basically orders himself to victimize Lena.

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: In front of Audience/, (Engaged in || Entitled to) [Prejudging | Soundly Judging] Lena&Pius/ and [Immorally | Rightly] Ordering Pius/ to [Victimize | Liberate] Lena/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: In front of Audience/, (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ to [Prejudge | Soundly Judge] Lena&Pius/ and to [Immorally | Rightly] Order Pius/ to [Victimize | Liberate] Lena/;
{}|{+} Lena&Pius-Pidol: In front of Audience/, (Being || Deserving to be) [Prejudging | Soundly Judging] by Pius/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: In front of Audience/, (Being || Deserving to be) [Immorally | Rightly] Ordered by Pius/ to [Victimize | Liberate] Lena/ – Using Verbality&Name&Body/;
{}|{+} Lena-Pidol: In front of Audience/, (Being || Deserving to be) designated to be [Victimized | Liberated] by Pius/ on [Immoral | Righteous] Order from Pius/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward everyone whom he involves in his acts of Prejudgment and Immoral Order — CrowdOfMen, more toward Lena and especially toward Pius himself; |6.5})

({6.6| i. Physical Abuse of the Body kind: Level = Moral Crime; Perp = Pius; Victim = Lena; Audience = Pius&Lena&CrowdOfMen;

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{+} Pius-Pidol: [M] I am Superior with respect to Lena by hitting her in the face with a stretched hand (3x);
{} Lena-Pidol: [X] I am Inferior with respect to Pius by him hitting me in the face with a stretched hand (3x);
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) Bodily [Abusing | Cleansing] Lena/ in front of Audience/ – Using Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Name&Body/ by Pius/ Bodily [Abusing | Cleansing] Lena/ in front of Audience/;
{}|{+} Lena-Pidol: (Being || Deserving to be) Bodily [Abused | Cleansed] by Pius/ in front of Audience/ – Using Name&Body/;

Each exposes PrimePidol audiovisually to the others of Audience, audially to self;

Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward everyone involved in his act of Physical Abuse — CrowdOfMen, more toward Lena and especially toward Pius himself; |6.6})

({6.7| i. Psychic Abuse of the Deception and 3-party Immoral Order kind: Level = Moral Crime; Victims = Pius&CrowdOfMen&Lena; Audience = Pius&Lena&CrowdOfMen;

Master Pius orders Servants CrowdOfMen to “show some brotherly love” to Victim Lena.

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{+} Pius-Pidol:[M] CrowdOfMen show their brotherly love to Lena by manhandling her {i}; [M] To have CrowdOfMen cleanse her from her demons {iii};
{+} CrowdOfMen-Pidol: [X] Show brotherly love to Lena by manhandling her {i}; Manhanding Lena frees her from her demons {ii};
{+} Lena-Pidol: [X] To be shown brotherly love by the CrowdOfMen by being manhandled {i}; [M] Being manhandled by CrowdOfMen frees me from my demons {ii}; 
{} CrowdOfMen-Pidol: [M] To cleanse Lena from her demons {iii};
{} Lena-Pidol: [M] To be cleansed from my demons by CrowdOfMen {iii};
Abstract Pidols are distributed over Audience;

The idea that members of CrowdOfMen show their “brotherly love” for Lena by violently manhandling her has been designated a lie {i}; as was the implicit idea that such factually drastic and predatory measure would rid her from her demons {ii}. Also the order that Pius makes, as Master instructing CrowdOfMen as Servants to show their “brotherly love” by factually manhandling Lena as Victim, has been designated immoral because of its obviously abusive character (as well as redundant, ineffective and involuntary) {iii}. 

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Victims/ and – in front of Audience/ – [Immorally | Rightly] Ordering CrowdOfMen/ to [Victimize | Liberate] Lena/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ to [Lie | Speak Truthfully] to Audience/ about Victims/ and – in front of Audience/ – [Immorally | Rightly] Order CrowdOfMen/ to [Victimize | Liberate] Lena/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Pius/ [Lying | Speaking Truthfully] about Victims/ – Using Verbality&Name&Body/;
{}|{+} Victims-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Pius/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;
{}|{+} CrowdOfMen-Pidol: (Being || Deserving to be) – in front of Audience/ – [Immorally | Rightly] Ordered by Pius/ to [Victimize | Liberate] Lena/ – Using Verbality&Name&Body/;
{}|{+} Lena-Pidol: (Being || Deserving to be) – in front of Audience/ – designated to be [Victimized | Liberated] of CrowdofMen/ on [Immoral | Righteous] Order from Pius/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward everyone whom he involves in his act of Deception and Immoral Order — CrowdOfMen, more toward Lena and especially toward Pius himself; |6.7})

In Pius his dubious worldview, one that is apparently shared completely and unanimously by the slavish group of men that are now frantically swarming all around him, what in reality are collective products of their selfishly manifesting love for sadism, gets to be egosyntonically and euphemistically reinterpreted as an entirely-justified and divinely-recognized purification procedure applied with love only (no trace of involved hate at all), as if they would genuinely care for the battered person lying in front of them curled-up in fetal position, exposed and vulnerable. And even as they are about to rain their fists of fury down on her, the maliciously mesmerized assembly of mad men that they are would rather view their pending acts of cruelty as only being part-and-parcel of a tried-and-tested lovey-dovey means to separate that which is evil inside of their victim from that which is good, thus causing her to be left with solely her purely good and true self.

Easy, peasy, Japanesey.

3. In terms of conscience, even though the crowd of men obviously are not seeking Golden Rule-compliance in their abusive treatment of Lena, and even though they are acting in line with Pius his inauthentic conscience serving his selfish penchant for (counterfeit-Messianic) power-seeking and Narcissistic praise-seeking, in their brainwashed minds they all likely prefer to see themselves as doing nothing but good; they all really do seem to believe that they are helping Lena when they factually abuse her. Then again, the interpretational practice of viewing themselves as inherently good may be viewed as a basic psychological need (egosyntonic), as virtually no-one gets up out of bed in the morning looking forward to do some evil during the day; most people would like to think of themselves as (automatically) being part of the good guys; it is generally frowned upon to have to admit to oneself being part of the bad guys (or more fairly and accurately stated, guys who [habitually] do bad things). Dr Evil is not really real (but he’s a hoot, just the same).

As such, in terms of actualization, by viewing themselves as good guys merely doing nothing but good deeds, I expect the men to be readily willing to actualize their own Pidols by euphemism. Lena and perhaps the male rare oddball out, like the boy seemingly sympathetically staring at Lena at the end of her ordeal, are expected to have an entirely different view on the matter. Lena is too aware, too smart, too brainy, too perspicacious, to go anywhere near willingness to actualize the men’s Pidols, refusing to (privately, not publicly) acknowledge that what the men were doing to her as just, deserved and necessary. Indeed, Lena shows a healthy insistence to resist with every bone in her body the idea that she should voluntarily serve in the capacity of some kind of masochistic (guilt-absorbing) scapegoat, having no other choice but to bear her beating with dignity — if only it were to enable the men to reach the holy goal (not at all smelly in itself) of feeling better about themselves afterward.

In terms of sacrifice, egged on by their delusional leader, the men seem entirely oblivious of the excessive and irrational sacrifices they allow and force themselves to make, including most significantly, concerning their victim of choice. By viewing themselves as nothing but agents of goodness and deliverance, they would be at a terrible loss to see that they are responsible–which they clearly are–for driving rather substantial emotional wedges in between themselves and their female victims. While being mesmerized by the fantastical notion that they surely are engaged in fighting evil, the men are handicapped to see that any losses of quality in the relationships between themselves and women are due to the men’s own wantonly predatory actions. Instead, courtesy of their collective male-chauvinistic misogyny eagerly fed to them from the top by Pius, they will only be bound to blame the women (victim-blaming) for any lack of expressed enthusiasm as to them fostering friendly relations with their male counterparts. |6})

With the men teetering on the brink of launching their arbitrarily dangerous attack on a defenseless and helpless Lena, out of the blue, Daniel–who, in the meantime, had been secretly trying to find his way across the terrain using the stolen flashlight for a tool of navigation–inadvertently sets off the alarm-system of the compound; his mission to escape suddenly cut-short completely when he furthermore touches with his hands the electrified fence of the compound’s outward perimeter and knocks himself unconscious as a result of the sustained electroshock.

Acting on what seems like a sudden surge of overwhelming paranoia, Piusby giving mobilizing orders involving all men present–immediately though indirectly brings a halt to what the simmering situation otherwise easily could have degenerated into: an ugly lynching ordeal (AGAIN!). Facilitated by Pius‘ easily-provoked mental ailment of perpetual paranoia, the–what to the men is an as yet–mysterious party triggering the alarm effectively albeit inadvertently ends up saving Lena’s life.

It does not take long before the men engaged in their search-party retrieve and identify the culprit setting off the alarm. While Daniel was picked up and brought to the hospital by the men thinking he accidentally and innocently ran into the fence like a headless chicken, Lena finds herself all alone in the room of confession with Pius, forced to withstand a private lecture coming from a leader lost in a reverie of dime-store psychology and what to her likely is but a burst of religiosity entirely irrelevant.

Pius: All I can see is sadness in your eyes. There’s doubt in your heart. Turmoil in your soul. Oh, you think you made a mistake. That you shouldn’t have come here. You regret. You regret deeply. It’s okay. It’s okay, Lena. We’re not perfect. None, none of us. We all lose our way sometimes. The Lord loves us, imperfect as we are. Open your heart to the Lord and he will requite all your doings with his love.

7.Day 130 — Pius and his little boys

Pius can be seen directing a choir of young and almost bare-naked boys in what seems like the shower area of some building. When they have finished their song, he picks out a few and sends them down to the showers. Not long after, the one who insinuates to only be doing God’s bidding follows, undoes himself of his shoes; and, it is suggested, joins the vulnerable naked little ones (and what will take place is undoubtedly immoral).

In the meantime, the PA system can be heard blaring the message into the local Chilean atmosphere: Attention: This is today’s final schedule. All nurses will wear their nurse’s uniform. All others, Sunday best. Aprons must be absolutely clean and tied at the back with a ribbon. After the presidential limousine has passed by, we’ll all follow in mixed parade. After the speech, all women are to return to the women’s quarters. All men will stand at attention in front of the Freihaus.

The mixed parade, in which men and women get to mingle fairly freely, is to honor a brief visit by Pinochet and staff. Lena and Daniel finally have a chance to meet, although–when they do–have to be careful not to give off any overt sign of knowing one another. Nevertheless, they secretly do manage to agree meeting each-other again, this time in a more private setting during Lena’s upcoming night-shift in the potato shed.

While testing a machine gun replica apparently provided by Pius, an officer on behalf of Pinochet agrees to order five hundred of them. In addition, Pius also grants the officer’s request of an undisclosed amount of the poison gas called Sarin. When the officer asks how they can be sure the gas will work, Pius proposes to test it on a dog. But when the officer assures his host they won’t be using it on dogs, an ever practical Pius–while quizzically gazing in the direction of a Daniel standing awkwardly in the middle of the gathered crowd–dryly passes on to his esteemed guest the ominously comforting words that Everything under god’s sun is good for something.

Through a freak stroke of manipulative luck, Daniel grants himself guard duty that night and uses the opportunity to secretly meet Lena in the potato shed, embracing one another in tears when they do.

Daniel: I’m so sorry they brought you here as well.
Lena: Nobody brought me here. I joined up… To find you.
After emotions have settled, Daniel soberly informs her what he has learned so far of Pius’ eerie enterprise.
Daniel: Schaefer understands that family gives you home, a sense of belonging. So he broke up the families, separated men from women, children from their parents. That’s why he became so powerful.
Lena: Well then how do they have the children in the first place?
Daniel: Once in a while he gives them permission to meet, but the children don’t know their parents. They take away the babies from their mothers at three months.
Lena: How do you know all of this?
Daniel: They don’t hide anything from me. I’m just a retard.
Lena: We have to get out of here.
Daniel: It’s all fenced in, the entire compound. They even have spring guns. I almost got killed, when I tried to get away.
Lena: When was that?
Daniel: About three months ago.
Lena: That’s why you weren’t there.
Daniel: Where?
Lena: Men’s gathering. I made them take me there so that you would see me.
At that precise moment, Daniel notices a hollow spot on the floor while exploratorily poking around with a stick.
Daniel: There’s something down there. (uncovers a trapdoor) Wait, I’ll go and have a look. (lowers himself down the trapdoor) It’s a tunnel.

An apprehensive Daniel tentatively starts exploring the tunnel, but–after a short while already–hears voices coming toward him. He quickly hides in a side-space where he witnesses two military men pushing a medical stretcher carrying an unconscious man, strapped unto the mobile bed by two broad leather bands. When a tractor suddenly stops next to the potato shed, Lena knows it is Gisela coming around for inspection. She hurriedly alerts her boyfriend, closes the trapdoor and covers it up with a few bales of hay. Even though Lena hasn’t finished her work yet, Gisela tells her to nonetheless call it quits for the day, to be continued tomorrow.

Unable to exit, Daniel decides to further navigate the tunnel system and eventually stumbles upon the room in which he was interrogated and tortured. Flooded by emotions, he grabs a chair in anger and uses it to smash the electric equipment placed next to the very bed in which he suffered significant state-sponsored physical abuse (to the point of torture).

8.Day 131 — Fuck out of dodge

The PA system suddenly pierces the air of the commune with a very personal announcement for one of the dwellers: Attention. Lena, come to see Pius. Lena, come to see Pius immediately!

As if her life depends on it, Lena runs as fast as she can to the building of destination. When she arrives with her heart beating in chest, Pius–accompanied by a handful of men, waiting for her–is nevertheless sure to berate her for an apparent lack of manifested locomotive commitment; he had one of his boys clock just how long it took for her to arrive:

Pius: (to boy with stop-watch) How long?
Boy: “Seven minutes, twenty-three seconds.”
Pius: “If your conscience was clear, you would have been here in less than five. Come. ({8.1})
Lena approaches warily and sits down across from Pius.
Pius: (suspicious) Look at her. She’s the savvy one. Keeps her eyes open. She knows what’s going on, right? Do you know Ursel? She got brains. But the brainy ones, you can’t trust them. They lose their way too easily.
Men: (drone-mode) Yes.
Pius: So I want you to keep an eye on Ursel, tell me what you see and hear. Because there’s something going on with her and I can smell it.
Lena: I hardly ever see Ursel.
Pius: Well I can fix that.

({8.1| i. Psychic Abuse of the Prejudgment kind: Level = Moral Error; Perp = Pius; Victims = Lena&Pius; Audience = Pius&Lena&CrowdOfMen8;

The set CrowdOfMen8 consists of all the men that have now gathered around Pius.

1. Incoming-stage: Pius initiates the inspiration of an Implicit Abstract. . .
{} Lena-Pidol: My conscience is not clear because I did not arrive within less than five minutes;
{+} Pius-Pidol: Unlike Lena’s, my conscience is clear;
Abstract Pidols are distributed over Audience;

Technically, it is true that Lena’s conscience is not clear, because her stay is soaked in instrumental deception from day one, but this is something that Pius does not know, or at least is not sure of. He seems to know that there is something funny going on with her, but as yet is unable to put his finger on what it is, what the deal is with her; he seems to have no concrete awareness of her motives yet. Hence, his cavalier assertion is marked as prejudicial; he is guessing; on an apparent fishing expedition by leveling his vaguely incriminating and faintly humiliating prejudice so offhandedly — which also, indirectly and implicitly, serves to shake off any sort of guilty conscience he might have himself.

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Victims/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ [Prejudging | Soundly Judging] Victims/ in front of Audience/;
{}|{+} Victims-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Pius/ in front of Audience/ – Using Verbality&Name&Body/;
Pius exposes PrimePidol audiovisually to the others of Audience, and audially to self;
A mute Lena exposes PrimePidol visually to the others of Audience;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward everyone involved in his act of Prejudgment — CrowdOfMen8, but more so toward Lena and especially toward Pius himself;

3. In terms of actualization, unlike Lena, I expect Pius and his slavish minions to readily actualize the leader’s Pidols by euphemism, viewing his act of prejudgment as only a sound act of judgment. Pius would therefore view himself as nothing but entitled to make the statement which he did, regardless of its sadistic connotation.

In terms of conscience and sacrifice, I expect Pius to see himself doing no more than acting in accordance with his inauthentic power-seeking and praise-seeking conscience. While assuming to be his authentic God-given conscience, Pius would therefore be blinded from recognizing the factually idolatrous nature of the sacrifices he already is making in terms of relationship quality between himself and Lena, and between Lena and the men sitting around Pius (tacitly and solemnly) endorsing their leader. In their apparent eyes, Lena were to only deserve reproach, the lazy girl she would be, impeded in her locomotive mobility due to having to toil with her an unclean kind of conscience that because of its cumbersome nature leaves her being unnaturally slow and inert — which, insofar as her conscience is concerned, strictly speaking does happen to be (somewhat) true, due to the progressively-more-guilt-incurring infiltrator and decidedly insincere devotee of Pius (and God) she is in reality. |8.1})

Later that day, during a mealtime break, Gisela sends Ursel to sit with Lena. There, Ursel tells Lena that Gisela is her mother and that Ursel was nine years old when they arrived at the commune. With a look of notable detestation on her face, Lena openly wonders how the other could stand living here.

Later still, while in the company of a military officer as well as Pius and a few nurses in attendance including Ursel, Daniel is being given a medical examination. When he is brought to another room to run a blood test, in his left-behind belongings, a nosy Ursel discovers a tightly-folded picture of Lena and Daniel locked in a passionate kiss.

That night in the potato shed, Daniel and Lena meet again in secret.

Daniel: It’s an entire system of tunnels. I figured it out last night. You won’t believe what they built down there. It’s kilometers of shafts with electricity and air ventilation and everything. But there’s this one tunnel which is blocked by a metal door. It’s the only tunnel which is blocked. This shaft heads right for the fence. I think it leads outside. Out of the colony.
Lena: Are you sure?
Daniel: We have to give it a try. I also found another exit. It leads out into the workshop. The tunnels connect the entire Colonia. It’s really crazy. And I’m sure, only Schaefer and a few others know about it. I mean, there is like a whole secret world going on underneath, and most of them, they have no clue. Lena, I’m sure we can make it. We can get out through the tunnels, but we have to leave tonight.
Lena: Tonight?
Daniel: They’re preparing a test for tomorrow.
Lena: What test?
Daniel: Poison gas. The idea is, I won’t survive.
Lena: My God.
Daniel: (hands her a few photographs) Look after these. In case I don’t make it.
Lena: What is this?
Daniel: Pictures I took from the tunnels. The underground rooms. We have to prove what’s going on in here.
Lena:I don’t wanna prove anything, I just want to get out of here alive.”
Daniel: But we have to nail these guys; we have to stop this.
Lena: With a few photographs?
Daniel: Yes!
Lena: Don’t you get it? If you hadn’t taken those photos in Santiago, we wouldn’t even be here. So do me a favor, stop playing the revolutionary hell-bent on saving the world. You’re gonna get us killed!

The sound of an approaching tractor interrupts their discussion and Daniel silently slinks out of sight through the hidden trapdoor down into the secret tunnel system. After again covering up the trapdoor with a few bales of hay, Lena quickly goes to pretend being busy peeling potatoes, as she was tasked to do in the first place. When she sits down, however, she notices that Daniel accidentally dropped one of his damning photos and is now haplessly lying on the floor for all to see. She quickly picks it up, but, unable to tuck it inside of her clothing in time, nervously puts it underneath a bucket — when at that precise moment, Gisela together with Ursel enter the shed.

Gisela: (to Ursel) And no chattering.
Ursel: What shall I peel with?
Gisela: Didn’t you bring your knife? How stupid can you be?
Ursel: I didn’t know…
Gisela: Not another word! I’ll get you a knife.
Gisela then leaves the shed.
Lena: Why are you here?
Ursel: You tell me. You think I don’t know Schaefer told you to spy on me? Maybe he told me to spy on you, too. You’ve got brains, Lena. Just like Ursel. But the brainy ones are dangerous.
Lena: Why is he doing all this? The whole place. I don’t understand it.
Ursel: Because there is nothing to understand. He loves it. His power, the music, the little boys. It’s his heaven on earth.
Lena: Did you really believe he was a man of God?
Ursel: Of course. But not anymore. So have the two of you met?
Lena: What do you mean?
Ursel: You know what I mean. The picture inside your cross. So foolish of you, Lena. And when nobody’s watching, he’s not so retarded anymore. You’re planning to escape.
Lena: No.({8.2})
Ursel: I am pregnant, Lena. And I think they know. And he won’t accept it. They’ll kill it. And probably me, too.
Lena: But the father?
Ursel: He’s not from here. He was taken here, just like your Hans. And I took care of him at the hospital.
Lena: Where is he now?
Ursel: He’s nowhere. Didn’t make it.
Gisela reenters the shed and is keen to notice that Lena is faking it.
Gisela: That potato you’re holding, is the same one you had when I left. Take your things, go and sit back there. You’ll only gossip otherwise. ({8.3})

({8.2| i. Psychic Abuse of the Deception kind: Level = Moral Error; Perp = Lena; Victims = Lena&Daniel&Ursel; Audience = Lena&Ursel;

1. Incoming-stage: Lena initiates the inspiration of an Abstract. . .
{+} Lena&Daniel-Pidol: [X] I am not planning an escape;
{} Ursel-Pidol: [M] I am mistaken when I state that Lena&Daniel are planning an escape;
Abstract Pidols are distributed over Audience;

2. Scene of Immorality-stage: Lena initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit)) Abstract. . .
{+}|{+} Lena-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Victims/ – Using Verbality&Name&Body/;
{}|{+} Lena-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Lena/ to [Lie | Speak Truthfully] to Audience/ about Victims/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Lena/ [Lying | Speaking Truthfully] about Victims/ – Using Verbality&Name&Body/;
{}|{+} Lena&Ursel(&Daniel)-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Lena/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Lena incurs authentic guilt toward everyone involved in her act of Deception — Daniel, more so toward Ursel and especially toward Lena herself; |8.2})

({8.3| i. Psychic Abuse of the Prejudgment kind: Level = Moral Error; Perp = Gisela; Victims = Lena&Ursel&Gisela; Audience = Gisela&Lena&Ursel;

1. Incoming-stage: Gisela initiates the inspiration of an Abstract. . .
{} Lena&Ursel-Pidol: [X] I will only gossip if I sit too close to my potato-peel-partner;
{+} Gisela-Pidol: [M] I do not gossip, i.e. I do not go around judging other people in their disfavor behind their backs;
Abstract Pidols are distributed over Audience;

The irony of Gisela’s prejudicial claim should not be lost, because the very nature of the general practice of gossip is likewise prejudicial. In fact, gossip lets itself be described as the indirect dissemination of prejudices that are based on a certain person or people: the object or objects of gossip. The fundamental difference between what Gisela is doing and gossip, is that Gisela levels her prejudice in direct manner, she tells Lena and Ursel to their faces what they purportedly would do if sitting too close together. A gossiping Gisela, instead, on the other hand, would have stabbed them in the backs by sharing her belittling prejudice (indirectly) in front of other people than Lena and Ursel.

2. Scene of Immorality-stage: Gisela initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Gisela-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Victims/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Gisela-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ [Prejudging | Soundly Judging] Victims/ in front of Audience/;
{}|{+} Victims-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Gisela/ in front of Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Gisela incurs authentic guilt toward everyone involved in her act of Prejudgment — Lena&Ursel and especially toward Gisela herself;

3. In terms of actualization, as with Pius in his off-the-cuff prejudicial assessment of Lena literally running late, I expect Gisela to readily actualize by euphemism her own Pidols by not seeing her factual act of prejudgment as such, but rather one of only sound judgment (“common sense”). After all, keeping in mind Gisela loving her part as supervisor seemingly more than anything or anyone, conformal to the power instilled in her – since the supervisor must always be right, logic compels that she herself by inclusion also must always be right, always just and accurate in their observations and rulings (not by sound verifiable reason per se, but by decree, sheer decree).

Lena and Ursel, in this particular case, are expected to not mind that Gisela is claiming what she is claiming, just so long as she is not on to their secret plans. Indeed, the two conniving girls would only welcome their supervisor looking for explanations of their dubious behavior in all the wrong places. The fact that Gisela–by judging them as common gossipers, automatically beneath decency and what is tolerable–is now trying to make herself feel better about herself at their apparent expense (hence Gisela’s additional implicit practice based on herself comes with positive polarity), stands to not only not bother them, they might precisely even welcome it, for the obvious cover it provides them (misdirection of attention).

In terms of conscience and sacrifice, even though she is in reality acting on an inauthentic power-seeking conscience, I expect Gisela to be thinking she is doing so only on good conscience, what she considers good conscience at any rate. She would likewise not care that her prejudgments promote an alienation between herself and the people she victimizes. Indeed, her acts of judgments may even count as evidence of an underlying attitude in which she already was feeling rejected by the likes of her victims and that her judgmental actions therefore carry with them retaliatory overtones. As already stated before, I expect Gisela to either fail to understand losing trust and credibility with the women she subjects to her (ongoing) abuse, orif she is even aware of the socially adverse effects of her articulated authoritarianism–that she perversely enough encourages it if she would be convinced it serves to help her in her power ambitions. |8.3})

8.1 Goldilocks in trouble

When Gisela picks up the fateful bucket, suddenly Daniel’s picture is exposed. Lena is in trouble.

A little bit later, a Lena seated in another room finds herself facing a couple of Pius his barking German Shepherds on a leash. She’s being grilled for the accidentally recovered incriminating picture.

Pius: It’s always the same, always the brainy ones. Where did you get this from?
Lena: I found it. ({8.4.i})
Pius: Really, just like that? (bends over to get right in her face) I’ll find out, even if i have to carve it out of flesh with a blunt fork, so where did you get it from?
Lena: I found it. ({8.4.ii})
Pius: Where did you get it from?
At that moment, Daniel “wanders” into the room.
Pius: (to Daniel)Get out! Get out!
Daniel: I-I had it.
Pius: You said what? This picture, Hans, belongs to you?
Daniel: Uh-huh.
Pius: Where did you get it from?
Daniel: If I tell you, uncle Bernd is gonna hit me. ({8.5.i})
Pius: No, uncle Bernd won’t hit you.
Daniel leans forward and whispers something in Pius his ear, the latter who then–accompanied by Bernd, “Hans” and a few other men–can be seen entering the workshop.
Pius: Hans.
Daniel: (points to the darkroom) In, in there. ({8.5.ii})
Pius: Open up the darkroom.
Daniel: The red, red book. ({8.5.iii})
Pius: Red book.
Bernd fetches a red book. Pius browses through it and quickly stumbles on a set of pictures similar to the one Lena is accused of carrying.
Bernd: I didn’t take these.({8.6.i})
Pius: I’m impressed, Bernd. These are great.
Bernd: It wasn’t me, Pius, please, I–({8.6.ii})
Pius: Don’t worry. The truth will set you free.
They re-enter the interrogation room, with Pius holding the red book in his hands and browsing through it.
Pius: Goldilocks can go now. We’re going to have a chat with our good brother Bernd. (addressing Lena and Gisela) Well, get out, both of you sluts! ({8.7})

({8.4| i. Psychic Abuse of the Deception kind: Level = Moral Error; Perp = Lena; Victims = Lena&Daniel&Pius; Audience = Bernd&Rudi&Kurt&Pius&Lena&Gisela&Daniel;

1. Incoming-stage: Lena initiates the inspiration of an Abstract. . .
{+} Lena-Pidol: [X] I just found the picture (by accident) (2x); [M] Am innocent, uninvolved and ignorant; {more “innocent” than what’s just, super-innocent}
{+} Daniel-Pidol: [M] I did not take the picture; [M] Am innocent; {more innocent than what’s just}
{} Pius-Pidol: [M] My interrogation of Lena is (entirely) unfounded since both Lena&Daniel are innocent; {less appropriate than the truth}
Abstract Pidols are distributed over Audience;

Even though Daniel has yet been involved in the matter of the picture, he is the real culprit nevertheless, and so now Lena implicitly puts him in an artificial state of clarity of charges.

2. Scene of Immorality-stage: Lena initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Lena-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience/ about Victims/ – Using Verbality&Name&Body/;
{}|{+} Lena-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Lena/ to [Lie | Speak Truthfully] to Audience/ about Victims/;
{}|{+} Audience-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Lena/ [Lying | Speaking Truthfully] about Victims/ – Using Verbality&Name&Body/;
{}|{+} Lena&Pius(&Daniel)-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Lena/ [Lying | Speaking Truthfully] to Audience/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Lena incurs authentic guilt toward everyone whom she involves in her act of Deception — Bernd&Rudi&Kurt&Gisela, more toward Daniel&Pius and especially toward Lena herself; |8.4})

({8.5| i. Psychic Abuse of the Deception kind: Level = Moral Error; Perp = Daniel; Audience1 = Bernd&Rudi&Kurt&Pius&Lena&Gisela&Daniel; Audience2 = Bernd&Kurt&Pius&Daniel&Boy1&Boy2;

1. Incoming-stage: Daniel initiates the inspiration of an Abstract. . .
{} Bernd-Pidol: [X] I am going to hit Daniel, [M] because that picture is mine; {super-unflattering due to unjust assertion of being boogeyman}
{+} Daniel-Pidol: [X] I am going to be hit by Bernd, [M] because that picture is his; {super-flattering due to unjust assertion of super-innocence}
{+} Lena-Pidol: [M] I am innocent, uninvolved and ignorant; {super-flattering due to unjust assertion of super-innocence}
Abstract Pidols are distributed over Audience1;

Daniel initiates the inspiration of an Abstract. . .
{} Bernd-Pidol: [X] The picture does come from my darkroom, [X] from the red book; [M] I did take those pictures;
{+} Daniel-Pidol: [X] I did find the picture in Bernd’s darkroom, [X] in the red book; [M] I did not take those pictures;
Abstract Pidols are distributed over Audience2;

Daniel here lies explicitly three times: once in front of Audience1, versus twice in front of Audience2; the people being lied about in front of Audience1 are Bernd&Daniel&Lena, versus Bernd&Daniel in front of Audience2. Also note that Daniel once again makes cleverly use of his cover as retard, the underlying idea being that retards automatically lack the mental wherewithal to be cunning and treacherous, too innocent and sweetly ignorant in their inherent insecurity to be able to pull together any complex scheme of deception, which would sooner cause them debilitating headaches by even so much as thinking about doing such a daring thing.

2. Scene of Immorality-stage: Daniel initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Daniel-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience1/ about Bernd&Daniel&Lena/ – Using Verbality&Name&Body/;
{}|{+} Daniel-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Daniel/ to [Lie | Speak Truthfully] to Audience1/ about Bernd&Daniel&Lena/;
{}|{+} Audience1-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Daniel/ [Lying | Speaking Truthfully] about Bernd&Daniel&Lena/ – Using Verbality&Name&Body/;
{}|{+} Bernd&Daniel&Lena-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Daniel/ [Lying | Speaking Truthfully] to Audience1/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience1, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience1;

Daniel initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Daniel-Pidol: (Engaged in || Entitled to) [Lying | Speaking Truthfully] to Audience2/ about Bernd&Daniel/ – Using Verbality&Name&Body/;
{}|{+} Daniel-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Daniel/ to [Lie | Speak Truthfully] to Audience2/ about Bernd&Daniel;
{}|{+} Audience2-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] to by Daniel/ [Lying | Speaking Truthfully] about Bernd&Daniel/ – Using Verbality&Name&Body/;
{}|{+} Bernd&Daniel-Pidol: (Being || Deserving to be) [Lied | Spoken Truthfully] about by Daniel/ [Lying | Speaking Truthfully] to Audience2/ – Using Verbality&Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience2, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience2;

In summary, qualitatively, Daniel incurs authentic guilt toward everyone whom he involves in his acts of Deception — Rudi&Kurt&Pius&Gisela&Boy1&Boy2, more toward Bernd&Lena, and especially toward Daniel himself; |8.5})

({8.6| i. Psychic Abuse of the Deception by Proxy kind: Level = Moral Error; Perp = Lena; Victims = Bernd&Pius&Lena&Daniel; Audience2 = Bernd&Kurt&Pius&Daniel&Boy1&Boy2;

1. Incoming-stage: Daniel initiates the inspiration of an Abstract. . .
{} Bernd-Pidol: [M] I did take those pictures (despite my double denials);
{+} Pius-Pidol: [M] I am dealing with a guilty Bernd and with an innocent Daniel&Lena;
{+} Daniel&Lena-Pidol: [M] I am innocent;
Abstract Pidols are distributed over Audience2;

As a consequence of launching his feat of deception, seeking to frame Bernd for something Daniel had done himself, the cunning pretend-retard now tacitly launches a follow-up act of deception — but this time does not do the acting himself. Instead, he uses Bernd simply by way of refusing to confess that the smithy–his boss–was being truthful when denying ownership of said pictures. In addition, it may also be argued that Daniel was using Pius by manipulating him into believing to be dealing with a guilty Bernd — the precise main object of his silent attention-misdirecting scheme. It may thus also be argued that, while his deception by proxy is running its course, Daniel in effect is lying by omission (because he could, at any given time, have stepped in and spilled the proverbial beans; yet he didn’t, although of course for good reason).

As for polarities concerned, Bernd’s practice obviously deserves a negative polarity since Daniel paints him with an unduly unflattering brush of artificial guilt, portraying him with more guilt than the poor guy deserves in reality. The polarity of Pius his practice turns out to be positive, however, since the leader is falsely if implicitly being promoted in the imagic version of himself who is having to bear one member (Bernd) held with a more guilty regard than reality permits, and two members (Daniel&Lena) who are portrayed with more innocence than would be in accordance with the truth (- and ++ makes +). For painting himself and Lena with an unduly flattering brush of artificial innocence, the practices of Daniel and Lena likewise get a positive polarity.

2. Scene of Immorality-stage: Daniel initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Daniel-Pidol: (Engaged in being || Entitled to be) [Insincere | Sincere] to Audience/ about Victims/ – Using Bernd&Pius their Verbality&Name&Body/;
{}|{+} Bernd&Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Daniel/ to be [Insincere | Sincere] to Audience2/ about Victims/;
{}|{+} Audience2-Pidol: (Being || Deserving to be) [Insincere | Sincere] to by Lena/ being [Insincere | Sincere] about Victims/ – Using Bernd&Pius their Verbality&Name&Body/;
{}|{+} Victims-Pidol: (Being || Deserving to be) [Insincere | Sincere] about by Lena/ being [Insincere | Sincere] to Audience2/ – Using Bernd&Pius their Verbality&Name&Body/;

Each exposes PrimePidol audiovisually to the others of Audience2, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

As to the used toolbox, ” – Using Bernd&Pius their Verbality&Name&Body/“: by way of manipulating Bernd into a predicament at which he will have to try and worm his way out, by way of watching him squirm without coming to his aid and tell the plain (if self-incriminating) truth, and also by way of manipulating Pius into believing to be dealing with a Bernd having something to hide, it may be said that Daniel went to float his deception using not aspects of his own person (as usual) but rather those of an unwitting Bernd and Pius.

In summary, qualitatively, Daniel incurs authentic guilt toward everyone whom he involves in his act of Deception by Proxy — Kurt&Boy1&Boy2, more toward Lena and especially toward Daniel&Bernd&Pius; |8.6})

({8.7| i. Psychic Abuse of the Prejudgment kind: Level = Moral Error; Perp = Pius; Victims = Gisela&Lena&Pius; Audience = Bernd&Rudi&Kurt&Pius&Lena&Gisela;

1. Incoming-stage: Pius initiates the inspiration of an Abstract. . .
{} Gisela&Lena-Pidol: [X] I am a slut;
{+} Pius-Pidol: [M] I am not (the male-counterpart of) a slut;
Abstract Pidols are distributed over Audience;

2. Scene of Immorality-stage: Pius initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Pius-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Victims/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Pius-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Pius/ [Prejudging | Soundly Judging] Victims/ in front of Audience/;
{}|{+} Victims-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Pius/ in front of Audience/ – Using Verbality&Name&Body/;

Each exposes PrimePidol audiovisually to others of Audience, and audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Pius incurs authentic guilt toward all exposed to his Insult — Bernd&Rudi&Kurt, more so toward Gisela&Lena and especially toward Pius himself;

3. In terms of actualization, Pius once again shows to have only at best conditional respect for even Gisela. The sadistic leader is not deterred from openly insulting even one of his lieutenants if he so desires (on a whim), and evidently shows to have no difficulty actualizing his own Pidols (by euphemism). I expect Lena to consequently foster even more disdain for him than she already did. But that’s okay, I suppose, because the firm hope that she will soon be out of this lunatic asylum, would keep her marching forward and, if anything, fortify her resolve to take the abuse without (overt) resistance.

Gisela also seems to take it with no apparent problem but probably for a different reason. She’s basically in a sadomasochistic relationship with Pius in the sense that she’s willing to play the masochist should Pius want to get a sadistic rise at her expense. In compensatory turn, however, she continues to have the ameliorating privilege of playing the sadist in the ways with which she relates to the girls (and women) under her command, whom she implies–through her absolutist and cruel authoritarianism–to expect to in effect relate to her in a state of masochistic submission.

In terms of sacrifice, Pius shows to in effect not care that he only furthers an emotional alienation between himself and the women he insults. It’s as if he–just like Gisela–already was acting on the prejudice that having any sort of warm and emotional (loving) type of bonding with women in general was out of the question from the out-set. As if he, the die-hard misogynist he could very well be, already had abandoned hope for the prospect of in general receiving women with genuine affection; he would then be hating women based on his self-crippling prejudice of them hating him first (making him, according to this hypothesis, hate women out of what to him would be a sense of retaliation — stemming ultimately perhaps from primal hatred for his own mother, or some other woman having had a significant role to play in his earlier life). |8.7})

Gisela and Lena leave the room. But when the older walks the younger to the dormitory of the girls, before they reach the sleeping quarters, Lena knocks the older woman unconscious with a wooden beam ({8.8}); and can then be seen reuniting with Daniel, who had been hiding outside nearby, waiting for her to show.

({8.8| i. Physical Abuse of the Body kind: Level = Moral Crime; Perp = Lena; Victim = Gisela; Audience = Lena&Gisela&Daniel;

1. Incoming-stage: Lena initiates the inspiration of an Abstract. . .
{+} Lena-Pidol: [M] I am Superior with respect to Gisela by hitting her in the face with a wooden beam, knocking her unconscious;
{} Gisela-Pidol: [X] I am Inferior with respect to Lena by her hitting me in the face with a wooden beam, knocking me unconscious;
Abstract Pidols are disseminated over Audience;

2. Scene of Immorality-stage: Lena initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Lena-Pidol: (Engaged in || Entitled to) Bodily [Abusing | Punishing] Gisela/ in front of Audience/ – Using Name&Body/;
{}|{+} Lena-Pidol: (Being || Deserving to be) Used in Name&Body/ by Lena/ Bodily [Abusing | Punishing] Gisela/ in front of Audience/;
{}|{+} Gisela-Pidol: (Being || Deserving to be) Bodily [Abused | Punished] by Lena/ in front of Audience/ – Using Name&Body/;

Each exposes PrimePidol audiovisually to the other of Audience, audially to self;
Abstract (PrimePidol-derivatives || Implicit Pidols) are cast over Audience;

In summary, qualitatively, Lena incurs authentic guilt toward everyone involved in her act of Physical Abuse — Daniel, more so toward Gisela and especially toward Lena herself; |8.8})

Daniel: We’ll go through the workshop. It’s quicker.
Lena: We’re taking Ursel with us. She’s in the potato shed.
Daniel: Are you insane? That’s too far.
Lena: I’m not going without Ursel.

Suddenly, the site’s alarm system goes off, prompting Daniel and Lena to hurry to the potato shed anyway. Pius orders his men outside to right away embark on a search-party for the now fugitive Daniel and Lena. The PA system vomits out the emergency message: Urgently searching for brother Hans and sister Lena. They need to be found immediately.

Daniel and Lena arrive at the potato shed. While under the spell of urgency, Lena convinces an initially hesitant Ursel to join them, taking flight together. Moments later, all three of them can be seen rushing through the tunnel system. Daniel quickly manages to file open the lock of the steel-barred door in the way of what they hope is a safe and sure passage into the outside world. The last obstacle on the way to liberty is a pool of water they have to dive through. Although Ursel almost drowns, all three of them do make it to the other side safely.

In the meantime, Pius enters the dormitory where “Hans” was sleeping. When examining the bed of the alleged retard, he retrieves a handful of blue pills secretly stashed away inside of the mattress and realizes that Hans in reality was less retarded than he liked them all to believe, that he was not the person whom he inferred himself to be. The sudden awareness of evident profound betrayal inspires Pius to call him that goddamn fucking liar.

Pius is thus bound to realize that he had been suckered – shafted – the entire time by not just one but two members of his flock (fucked right in the culo and the kisser simultaneously). As a result, the corrosively cuckoo cult-leader that he is, may be expected to only be upping-the-ante of his toxic watchfulness. His cruelty to the members of his remaining flock is likely to increase because he from this moment onward would be more prone to ‘detect’ spies and traitors in his midst, and treat them as such, with enhanced sadistically vindicating force, whether or not they even happen–in the fact of the matter–to be (half-way) real spies or traitors. Lena and Daniel would be partially responsible for an already sadistic and paranoid leader to become even more so.

Then again, Pius himself of course would be mostly responsible for this new psychopathology-exacerbating development — naturally affecting not just himself but the crooked entire circus of idolatry built around his person. By running a completely closed-off sort of a militant cult-like commune, the malevolently-mesmerizing mad master man of opprobriously-predatory priestly pleasure himself squarely deserves to be held responsible for creating the precise conducive conditions for infiltrators–naturally covertly pursuing independent agendas from his own heavenly-sanctioned divine one–to try and come join the stupefying soul-strangulating charade under his bloodstained superstitious supervision.

9.Day 132 — Finale

As they climb out of a hatch to emerge in the outside wild woody world, the three renegades can hear the PA system broadcast one more disingenuous and propagandistic message: Your brother Hans and your sisters, Ursel and Lena, have lost their way and have forsaken our good Lord. Pray for them so they find their way home where they belong. ({9.1})

({9.1| i. Psychic Abuse of the Prejudgment with Counterfeiting God’s Authority kind: Level = Moral Error; Perp = Announcer; Victims = Daniel&Lena&Ursel&God; Audience = Everyone;

1. Incoming-stage: Announcer initiates the inspiration of an Abstract. . .
{+} Announcer-Pidol: [M] I am Authorized to speak on God’s behalf;
{} God-Pidol: [M] Announcer is Authorized to speak on my behalf; [X] I have been forsaken by Daniel&Lena&Ursel; [M] Want to see them return to the commune, where they belong;
{} Daniel&Lena&Ursel-Pidol: [X] I have lost my way and [X] have forsaken our good Lord; [X] Belong at the commune;
Rule-pidol: [M] Those who leave the commune (without permission), have lost their way and have forsaken the “good Lord”;
Abstract Pidols and Rule-pidol are disseminated over Audience;

It’s awfully brainwashy for Announcer to claim that Daniel, Ursel and Lena now have lost their way and have forsaken the “good Lord”. It’s awfully prejudicial to state that as of now, the three fugitives have abandoned God, instead of just Pius. But by claiming they have forsaken God, Announcer conveniently conflates Pius for God, thus making it seem that the fugitives have committed the gravest of sins imaginable since obviously only the most damnable creatures would ever stoop so low as to turn their backs on God, the spiritual absolute summit of goodness and inerrancy.

2. Scene of Immorality-stage: Announcer initiates the (exposure to a PrimePidol-derived || inspiration of an Implicit) Abstract. . .
{+}|{+} Announcer-Pidol: (Engaged in || Entitled to) [Prejudging | Soundly Judging] Victims/ in front of Audience/ – Using Verbality&Name&Body/;
{}|{+} Announcer-Pidol: (Being || Deserving to be) Used in Verbality&Name&Body/ by Announcer/ [Prejudging | Soundly Judging] Victims/ in front of Audience/;
{}|{+} Daniel&Lena&Ursel(&God)-Pidol: (Being || Deserving to be) [Prejudged | Soundly Judged] by Announcer/ in front of Audience/ – Using Verbality&Name&Body/;
Announcer exposes PrimePidol audially to Everyone;
Abstract (PrimePidol-derivatives || Implicit Pidols) are disseminated over Audience;

In summary, qualitatively, Announcer incurs authentic guilt toward everyone involved in his act of Prejudgment — [Everyone minus Daniel&Lena&Ursel], but more so toward Daniel&Lena&Ursel&God and especially toward Announcer himself. Since, however, it is only reasonable to assert that Announcer is acting on authority of the leader, it is Pius who gets to share in the guilt incurred by Announcer through copyinheritance;

3. In terms of actualization, I expect every living and breathing soul in the commune who is sufficiently brainwashed into accepting Pius’ regardless morally-retarded and self-glorifying Manichean worldview (reinterpreted entirely in quasi-Christian abuse-rationalizing euphemistic jargon) to do no more than readily swallow Announcer’s prejudicial statement as if it were nothing but a perfectly sound assessment of how things stand surrounding the three renegade apostates (actualization by euphemism). As for those fugitives themselves, I have every bit of confidence that–in sharp contrast–they view the matter entirely differently: that they have forsaken Pius, yes, but not necessarily God (even though it’s entirely possible that they completely disregard the bit about God, due to perhaps being atheists). By them seeing through the bedazzling bullshit that Announcer (on behalf of Pius) is trying to broadcast across the commune, I expect them to resist actualizing Announcer’s Pidols by euphemism and by accuracy.

In terms of sacrifice and conscience, I furthermore expect Announcer to be completely ignorant of the immoral nature of his statement and to therefore remain blind as to the sacrifices he forces to make all those souls exposed to his propaganda in terms of furthering an alienation from the sober objective truth and a perception of reality free from propagandistic spin. It is again presumed that Announcer is acting on orders of Pius, thereby acting on Pius’ inauthentic power-seeking and praise-seeking conscience. |9.1})

When they are about to walk away into liberty, Ursel, however, has the misfortune of stepping into a booby-trap; triggering one of those spring guns that had been set up in the immediate outside perimeter of the settlement, and ends up accidentally shot to death. Taking dire example from Ursel, a more cautiously moving Daniel and Lena are more fortunate when they do find their way into safety — ending up getting a lift from a large passerby truck. There, in the back of the truck, Lena tells Daniel that Ursel was pregnant. She goes on to claim that if she hadn’t made Ursel come along, she’d still be alive. Daniel tells her that it wasn’t her fault, and that moreover he is sorry, thus suggesting that he feels responsible for it all.

The truck takes them to Santiago de Chile, where they share their story and look for help in the German Embassy. Daniel shows the ambassador the pictures he took, which the German diplomat is sure to thank him for it. After getting new clothes in addition to a shower and new passports, Lena–by contacting and mobilizing Roman, her pilot friend and colleague–has the luck of being able to arrange a flight for them to get out of the country that very same day. The ambassador shows to be so kind to take them to the airport himself, assuring them that with his diplomatic status, he’ll get them through border control easily and without hiccups.

They arrive at the airport by a car driven by the ambassador’s chauffeur. The diplomat escorts them to a room himself, where they are told to await further instructions. The ambassador then leaves. Moments later, in that same room, they can see at a distance the ambassador, the two-faced snake that he is, meet with Pius. They immediately flee the room through a window and after a brief cat-and-mouse chase across the airport, do succeed to once again get the better of Pius as they hurry to reach the plane and–when they do–take off into sunny safety at the very last minute.

Colonia Dignidad was a leading torture prison for the Chilean secret police. Hundreds of detainees were interrogated, killed and buried on the grounds. In almost 40 years, only 5 cult members managed to escape. Photographs smuggled out of Colonia Dignidad were published internationally, causing a major scandal.

However, in Chile nothing changed. Paul Schaefer wasn’t indicted until the end of the Pinochet regime and was eventually arrested in Argentina in 2004. Neither General Pinochet nor the German Embassy staff were ever held accountable for their collaboration with Paul Schaefer. Paul Schaefer was sentenced to 33 years imprisonment on thousands of counts of sexual abuse of children and other crimes. He died in prison in Santiago in 2010. In memory of the victims of Colonia Dignidad.

10. Summary Analysis

Daniel was brought to the commune of cultic nightmares and idolatrous horrors against his will and afterward was being held there also against his will. Lena joined up with the commune to rescue Daniel. Even though both resorted to immoral conduct during the entire time they were part of the commune, they were given hardly any other choice. If only a knock on the proverbial door and a friendly request would have been sufficient to get Daniel out, that would have been best, but alas they were given no such civil option. Since the commune was inherently inaccessible in that people were denied the freedom to just walk in and out as they pleased, the leadership of the commune headed by Pius deserve to share (through copyinheritance) in the authentic guilt which Daniel and Lena incurred while chiefly using deception to rescue themselves.

Indeed, by running a closed-off militarily-reinforced virtual concentration camp, in spite of his flowery name suggesting otherwise, Pius himself is the greatest facilitator of the immoral conduct happening under his watch in Colonia Dignidad. Under the compelling and systematic adversarial circumstances of emergency they had to deal with, the use of Machiavellian tactics employed by Lena and Daniel–aimed at outsmarting the idolatrous edifice of tyrannical power maintained by Pius–were excusable and were not maladaptive.

Unfortunately not much is said in the movie about the sinister leader his background. More information about Paul Schäfer and Colonia Dignidad, however, may be found on the Internet. According to Wikipedia, Schäfer, born in 1921, founded a children’s home and Baptist ministry after WWII, but fled Germany after being charged with sexual abuse of two children. In 1961, he arrived in Chile with around 70 followers and a number of kidnapped children. The conservative government at the time granted him permission to found what would go on to become the infamous cult-like commune.

The Wikipedia page on Colonia Dignidad describes Pius “as having a very serious demeanor, and rarely smiled, but was considered to be quite charismatic nonetheless” — making great efforts to promote Colonia Dignidad in the public image of a utopian paradise.

In reality, Schäfer ran a fear-based colony where members were barred from interacting with the world outside the community, and a few were armed to protect the community against possible outside attacks.[9] The inhabitants lived under an abnormal authoritarian system, where in addition to minimal contact with the outside, Schäfer ordered the division of families (parents did not talk to their children, or did not know their siblings). It prohibited all kinds of relations, sentimental or conjugal, among adult women and men, and segregated the living quarters of each sex. Schäfer sexually abused children and some were tortured, as is clear from the statements of the German Dr. Gisela Seewald, who admitted the use of electroshock therapy and sedatives that her boss had claimed were placebos. Members were often encouraged to confess to him both their own sins, and the sins of others that they had witnessed. Supposed sinners were often publicly outed and shamed during gathering times and meals. Women were thought to be inherently sinful, plagued by sexuality, thus the justification behind separating the men from the women. Schäfer often dictated forming romantic relationships, as far as saying when to get married and have children. Most of the time, however, conceptions of family inside the colony were based not on genetics, but on loyalty to Schäfer, who self-identified as ‘The Permanent Uncle.’ When a child was born, it would not stay with its biological parents, but rather be raised by nurses in a group called ‘The Babies.’ Each stage of life was categorized like this, with the following stages being ‘The Wedges’ (up to age 15), ‘The Army of Salvation,’ ‘The Elder Servants’ by age 30, and lastly, by age 50, ‘The Comalos.’ This was done in an effort to give everyone an exact role in the colony’s order. Inhabitants lived in groups of about six, and all wore similar German 30s-style clothing. Each person would work 12+ hours a day, receiving no payment, but doing so rather for the sake of Colonia Dignidad. (Wikipedia)

The Wikipedia page on Schäfer himself reveals furthermore:

Schäfer kept children away from their parents in a children’s house. He said, “the problems in child education aren’t the children; they are always the parents because the parents are responsible for the sins of the children” […]

After a nocturnal hunting accident with a gun, Schäfer was treated in a Santiago hospital for several months. Upon his return, he forbade all festivities, separated boys and girls and men and women. In 1966, teenage fugitive Wolfgang Kneese hid in the German embassy in Chile and later talked to the press.[7] Schäfer induced another teen named Hartmut Hopp to smear Kneese, accusing him of sexual misconduct at a trial. Kneese managed to flee to Germany. Schäfer allowed Hopp to study medicine in reward, also because he needed a physician in his hospital.[6]:1:02

When Salvador Allende came to power, Schäfer had his community turn the compound into a fortress in fear of dispossession. He smuggled weapons from Germany knowing that containers for his charitable organization were not checked by customs, including machine guns which were soon copied in his machine shops.[6]:1:22 Schäfer invited Roberto Thieme, son of a German Nazi, and other opponents offering them the Colonia as a centre for planning a coup against Allende.[6]:1:25 During this time Schäfer started treating children with electric shocks, also to their genitalia, to keep them in line.[6]:1:30 (Wikipedia)

As to the leader vis-à-vis the children, it is obvious that Pius had a penchant for abusing the little ones. But Pius was not to be blamed, as that would be counter to the image of piety and exceptionality he touted of himself and which was loyally and reflexively promoted by especially the (sadistic) men he coddled to at the (masochistic) women’s expense. For all practical purposes, Pius was holy and untouchable; and so Pius would see himself forced to deny maintaining his own perverse habit going at the expense of the children he was supposed to protect. Instead, he was compelled to project his corrupt traits on potentially every other adult running around in the commune. Pius his argument for segregating the children from the adults would then be not to protect the children from Pius, but to protect them from their parents and all other adults in general, viewed as potentially evil and untrustworthy for their putatively abusive attitude toward children.

It makes you wonder what sort of childhood Pius himself had had. Was he abused himself as a child by adults? Was he already abusive himself when he was a child? — if so, then perhaps, consistent with his admission quoted up above, blaming the manifestation of his abusive behavior on his own parents, who might possibly have lacked sufficient parental vigilance to keep an eye on what little Paulie was up to while fiddling round and about. And where did his misogyny come from? Could it be due to his own mother having failed him so severely in his eyes, that his ensuing disappointment went to inspire in him a bitter general hatred, necessarily misplaced in its hypergeneralizing nature, for women ever since?

Indeed, as to Pius vis-à-vis the women, by deeming them inherently sinful and lustful, attributed themes of personal corruption which are clearly brought out in the movie, while doing any (ridiculous) thing possible to protect the men from all those evil supposed snares put out by the women witches, most significantly through enforcing an artificial segregation of the sexes, it’s safe to infer that Pius was a male-chauvinist and misogynist. Since the men looked up to Pius as if he were some kind of Messianic model man, it’s likewise safe to conjecture that the men (apart from a few possible disaffected aspiring defectors in combo with infiltrators) were also male-chauvinistic misogynists, dutifully and gratefully emulating their hero for a leader .

As is evident by its eagerness to use punitive shame to keep its people in a rigorous state of submission, the leadership of the commune was all about power: power of the exploitative kind, especially its labor component; and power of the obstructive indeed totalitarian kind, not just by way of enforcing a fairly strict segregation of the sexes as well as children from adults, but by in general micromanaging every aspect of communal life from cradle to grave.

Specifically, in order to keep convincing themselves that the genders are best separated, the leadership would be motivated to abuse their power by whipping up conflicts between the sexes in a perverse drive to prove themselves right in their factual prejudices defying biological and Christian normalcy; as in fact seems to have happened when Pius orchestrated the traumatic group-grilling of Doro. As to the children specifically, Pius also abused his power in order to keep adults away from children lest they ended up victims of abuse. And Pius generally abused his power in order to tightly control his flock as a whole, having no qualms to punish any rebellious sheep or lambs if they dared to stray from the herd.

Note that the practice of shaming is inherently destructive in character — its very function is to destroy the mindset or motivation held by the putative culprit that was deemed responsible for giving rise to the exhibited intolerable behavior at hand. That’s why it’s important to use shaming sparsely and prudently, for fear of destroying too much of a person’s otherwise perhaps quite healthy and wholesome individual will; and–as a result of excessive destruction–have it affect the victim’s character too much in a negative way. Could it be that one way to create human monsters is to have them be birthed in a cradle of redundant or needlessly amplified episodes of shaming?

Shaming certainly has its uses in human development, especially early childhood upbringing, as it is sometimes necessary to enable or encourage (especially young and foolish) people to unlearn genuinely bad habits or behavior; but shaming quickly becomes a blunt and abrasive tool of behavioral modification, one which regretfully has a treacherous guise of attractiveness for the shamer as it tempts them to claim (or usurp) a sense of moral superiority that regardless is not always righteous and deserved in actual fact. In order to prevent the unrighteous application of shaming and the furthering of characterological corruption that may go on plaguing the shamer and the shamed alike afterward, the aspiring shamer better make sure that their shaming initiatives are worthy of their target, that the shamed really does deserve  shame and that the shame is not exaggerated beyond that which is reasonable and humane. The cure should never be worse than the ailment.

By blaming the women for the failures of men, and by sadistically (gleefully and excessively) shaming the women, to the extent that the women functioned as default scapegoats and to the extent that the women failed to recognize that they were being unjustly blamed for things that supposedly went wrong in the commune, as the men went around acting like perpetual moral children refusing to grow up into responsible adults, the women on the receiving end of the men’s shaming abuse were encouraged to develop masochistic traits in order to cope with their agonizing predicament. As the men systematically projected guilt away from themselves, the women were expected to absorb the guilt which the self-abnegating men disowned — expected to plead guilty for charges they were not guilty of.

In terms of idolatry, the extent to which the men forced the women to bear unearned guilt, i.e. the extent to which sadistic men sought to artificially remain guilt-free as they followed through on their cruel initiatives to foist systemic abuse upon passively cooperative de facto masochistic women, may be rephrased in new jargon as the deplorable situation in which the men thematically practiced Guilt-projecting Self-idolatry, whereas the women were forced to thematically practice Guilt-absorbing Self-idolatry (just in order to keep things in the commune having some semblance of normalcy and stability by preventing the emergence of the explosively unstable situation in which the women resolve to defend themselves by rebelling against the tyranny of the evil men). All for the purpose of enabling the men to cling unto a collective guilt-free magically-sanctified imagic aura, the women were expected to embrace the lowly self-deprecating collective image of guilt-absorbing scapegoats.

In both kinds of Self-idolatry there is an obvious violation of the first Chief Moral Rule, the one stipulating to love God with all your might and all your mind, because instead of pouring attention (ideally of the loving kind) on God, the idolater spends (most of) it on the Self. To the extent that the men practiced Guilt-projecting Self-idolatry, i.e. to the extent that they loved projecting guilt away from themselves, the men were Sadistic and were going around wasting the time and energy that otherwise could have been spent on loving God. Instead, they used their time and energy to obsess over finding excuses to rationalize away and deny their own nevertheless authentic guilt by magically retrieving it with their favored scapegoated targets.

To the extent that the women practiced Guilt-absorbing Self-idolatry, i.e. to the extent that the women loved absorbing guilt rudely imposed upon them by all those charming men, the women were Masochistic and were going around wasting the time and energy which they otherwise could have been spent on loving God. Instead, they used their time and energy to obsess over finding excuses to embrace the nevertheless artificial need to own up to the authentic guilt that in reality was the moral duty of the self-abnegating men to bear.

The effects of this systematic perversion of justice is to first off cause needless ample suffering and secondly, maintain a severe stagnation in the moral development of both the men and the women. By refusing to own up to the authentic guilt which was rightfully theirs to keep, eagerly projecting it away from themselves as if allergic to it, the men were handicapping themselves from being able to learn from their own personal mistakes and grow into ever more responsible and mature human beings as a result. By being blamed for things they weren’t guilty of, the women on the other hand were also handicapped in their development by having to toil with them unearned arbitrarily heavy loads of crippling guilt; as such, their artificially heavy and cumbersome consciences only stood to instill into them paralyzing fear and neurotic phobias alike, thus serving to altogether dampen their natural spontaneity, autonomous drive and general zest for life — only to replace all of those principledly good assets with endless nervous fretting and debilitating insecurity.

In clear violation of the second Chief Moral Rule, by arrogating undeserved guises of perpetual blamelessness, the sadistic horde of men artificially elevated themselves in social standing relative to the women, the latter whom were forced into a submissive lower social standing by way of being systematically shamed and blamed in spite of such being in clear defiance of all that is just and all that is in accordance with the Golden Rule.

Assuming the validity of this extreme social situation in which there is such a perverted and tragically misguided sense of justice to be found in the permanent elevation of the basic moral status enjoyable by men, while at the same time driving down the basic moral status which was left for the now systematically predated-upon women, in order for the men to be able to cling unto their cloak of blamelessness, they had to learn to willfully disregard the true abusive character of their actions aimed mostly at the women they hated (however unconsciously). The men couldn’t admit to themselves being abusive whenever they factually and objectively were, as it would have forced them to admit guilt, thus shattering their precious and pristine images painting them free from any culpability and shame — a trick of delusion fully consistent with a thematic practice of Guilt-projecting Self-idolatry (cruelty-loving guilt-allergy, AKA Sadism).

If we keep in mind that especially for people who have no reservations to go around calling themselves Christian, it’s terribly egodystonic (un-Christian) to have to admit being abusive in actual painful fact. Hence, in order for them to keep believing being part of the good guys no matter what, the men had to embrace a corrupt general interpretation of their abusive behavior. And so that’s how their abuse euphemistically turned into deserved punishment; or better yet, attempts to “cleanse” victims from evil; that such “healing” efforts were furthermore only for the victims their own good; that they even constituted purely noble attempts to “liberate” victims from inner forces that were as evil as alien and which “fortunately” lent themselves to excellent degree for being routed out completely, lock stock and barrel, by way of inflicting good-old-fashioned physical violence (administered only in “loving” ways coming from entirely “lovable” men, regardless of their medievally cruel practical origin).

In addition, while still as ever clinging on to artificially-elevated personal images of blamelessness, the men had to learn to insist on viewing themselves to never ever being engaged in lying (especially no-not-never in front of the women) whenever they nonetheless factually did. Oh no, in front of themselves, they always told the truth, especially whenever it concerned regurgitating the holy words coming from their pious and pristine leader. Instead, it was always their preferred scapegoats who were telling the lies, who were always dishonest and always scheming, and who were always filled to the brim with “whorish demons” — courtesy of having the wrong gender.

As to Pius specifically, the commune in practice seems to chiefly have revolved around furthering the noble goal of his own personal (ego-based) glory — even though it of course was not being called as such by his brainwashed disciples. Instead, his self-glorifying service was conveniently furnished with a more palatable Christian veneer, leaving it merely with the superficial appearance of being a meek and humble service to further God’s greater glory (God and Pius, for all practical purposes, are interchangeable characters in the commune). The sleepwalking people in the commune seem to have worked hand-over-fist trying to keep Pius free from any-and-all blame, eagerly using deception and prejudgment as tools to enable them to project guilt away from his exalted self.

Women were separated from the men, because Pius saw them as inherently sinful and therefore inherently burdensome to the men. Hence, the men were deemed in perpetual need of protection from the evil devices and traps of the women — all those evil women witches. The children were separated from the adults, because Pius was actually a child-abuser himself who could not keep his dirty hands away from them. But since it was anathema to pin any sort of guilt on the guy, it was considered much more propitious to resort to yet another stunning feat of projection when under Pius his auspices it was either implicitly or explicitly resolved to systematically point the finger of blame at potentially all other adults walking around in the commune — remember Rudi’s desperate proclamation that “there was too much sin in the community”. A delusional Pius as head of a delusional commune managed to point the finger of blame at all other adults for being but an inch removed from being sure child-abusers; and then went to oversee communal efforts aimed at protecting all those vulnerable little ones from all other potentially abusive adults.

All hail Pius the Great! (Delusional Megalomaniac. . .)

Footnotes:

1 Counterfeiting God’s Authority can be an arbitrarily serious metaphysical crime, as the below case of Ayatollah Khomeini clearly illustrates.

In a book called Tahrir al-Wasilah (Exegesis of the Means of Salvation or Commentaries on the Liberation of the Intercession) (Wikipedia), Khomeini goes on to make the spectacular claim, among others, that “It is better for a girl to marry at such a time when she would begin menstruation at her husband’s house, rather than her father’s home. Any father marrying his daughter so young will have a permanent place in heaven.

As admittedly does everything, Heaven falls under God’s ultimate jurisdiction. But if we agree that Heaven is also God’s very own domicile, an afterlife destination that religious human beings typically dream of attaining, and if we agree that Heaven therefore is God’s business, his own personal castle in the proverbial sky as it were, it is then as such also only perfectly reasonable to assert that God and God only is the ultimate authority as to who decides who gets to enter Heaven and under what conditions; it’s not up to humans to decide, not even clerical leaders.

For his bold and blatant attempt to seize the reins of power that rightfully are God’s to keep, the Supreme Leader Ayatollah Khomeini may as such be charged with the crime of falsifying or Counterfeiting God’s Authority.

By this heedless specific declaration of his, Khomeini will have had a clear facilitating hand in brainwashing potentially every father under his religious dominion into becoming hellbent, while obsessing over securing that place in a blissful afterlife, on callously and selfishly disregarding his young daughter’s own future happiness. Under the Supreme Leader’s grievously irresponsible and outrightly misogynistic proclamation, in which it seems as if the highest imaginable authority grants fathers the ostensible opportunity to ascend straight into an afterlife Heaven without having to show any kind of personal virtue themselves whatsoever, girls basically turn into commodities, virtual “tickets” into Heaven.

Since it clearly promotes the objectification of human beings (like no tomorrow), such reckless policy without a doubt is corruption promoting. That’s why Counterfeiting God’s Authority is an arbitrarily severe moral infraction, potentially leaving arbitrarily long scores of victims, and deserves with open arms to be acknowledged as such.

2 As crazy and demented this macabre sort of pseudo-Christian kind of ritual may seem, this strange type of activity continues to take place in actual certain places in the world, to this day. In India, for example, women recently lined up to be beaten by what seems like a local witch-doctor engaged in a dubious exercise of sadistic superstition, one that is rather similar to the practice displayed in the movie.

Women and young girls queued up to receive therapeutic lashings during an annual Hindu festival held in southern India. The extreme religious ceremony is said to cure illnesses and exorcise evil spirits.

Ruptly footage shows women kneeling down in a “lashing ground” and having their backs and hands whipped by priests, as part of ‘Vijayadasami’ festivities held in the village of Bavithram Vellalapatti. The participants are seen bowing as they take turns receiving blows from the priests, who are dressed in ceremonial garb. Some are seen flinching as they brace for another lashing.

The ritual is supposed to rid women and girls of evil spirits, as well as heal ailments. According to tradition, if a woman doesn’t feel pain, it means she has fallen victim to dark forces.

“When the priest lashes the women they won’t feel any pain if they are possessed by evil spirits. Otherwise, it will be painful. The evil spirits after several lashes will run away from the woman’s body,” a local resident told Ruptly. rt.com

3 At heart, the leveled charge would be for violating what essentially is an idolatrous sort of practice, one having for an object of worship (however rationally indefensible it quite clearly is) the otherwise freely and publicly available natural or semi-natural accumulations of outdoors water. In other words, Lena is being accused of failing to adhere to the cardinal apparent rule serving to safe-guard the idolatrous (de facto: untouchable and holy) status of said water reserves. In the eyes of Pius and adherents, she may be said to effectively have failed in the apparently compulsory practice of Wateridolatry, having for its object of worship the local wild water pools or ponds, of which its admittedly minimalistic sort of worship comes down to leaving said water property in a pristine untouched state.

As retarded and unenlightened as this (pseudo-legal) charge may sound to any rationally-thinking human being, it just so happens that only quite recently–in October 2018, in fact–Pakistan’s Supreme Court overturned a death sentence placed on a woman named Asia Bibi, who was convicted in 2010 for violating a very similar sort of ridiculous law promoting Wateridolatry. The original complaint against Bibi came in June 2009. As the Christian mother of five picked berries in a field with a number of Muslim women, she became thirsty, and went to a nearby well for water. One Muslim woman allegedly accused Bibi of contaminating the water because of her Christian faith, making it unfit for the Muslim women to drink. […] Bibi claims that several days later, she was hauled from the berry field into the village, where she was beaten. It was alleged that Bibi had insulted Islam in violation of blasphemy laws — a charge which she denied. During the beatings, she was again told to convert, but she refused, and was later taken into police custody. In November 2010, Bibi was convicted of blasphemy, and sentenced to death by hanging. In 2014, the sentence was upheld by the Lahore high court. Read more at: https://www.dailywire.com/news/42866/christian-asia-bibi-free-leave-pakistan-after-frank-camp

If the death sentence would have been carried out as planned, then the life of a human being would have been sacrificed on the proverbial altar which may be thought to belong to the abstract idol–coming in the form by public esteem, standing or name–representing the law at hand, some blasphemy law. By drinking from the well carrying–what the local Muslims infer to, in effect, regard asholy water, the woman – due to merely being Christian – had supposedly come to soil the water and, in an imaginary way, had come to soil the – in practice – supremely precious idol representing the corresponding blasphemy law, one which – like in the commune of the story – serves to protect the purportedly holy status of the water by prohibiting the likes of the Kafir woman from contaminating said water with their ostensibly inherently unclean bodies (and penalizing them if they do). By sacrificing the life of the offender woman at hand, the idea would be that in the minds of the involved Muslims, the blemish which they imagine the woman had visited upon said law (reflected in a correspondingly tainted public image of that law) may be thought of as being washed off with the blood of the woman — made available for symbolic rinsing purposes by her capital punishment.

The look on Lena’s face, while sitting in front of her chief tormentor named Pius, sums the situation in this horrible cult-like commune….

 

(New) Rise of a Sadistic Clown type of Psychopath (3/3) – Joker (2019)

Rise of a Sadistic Clown type of Psychopath
Table of Contents
i.God the Ultimate Movie Director
ii.Idolatry 101 – Crash Course Idolatry Theory
ii.1.The double fundamental error lying at the heart of idolatry . . .
ii.2.Negative vs Positive, Concrete vs Abstract, Explicit vs Implicit and Potential vs Actualized
0.Qualitative Idolatry Analysis of Joker (2019)
1.Beatdown in alley 1.1.In terms of idolatry…
2.Feeling better when locked up in hospital
3.Taken for a bus ride 3.1.In terms of idolatry…
4.Reverie of idolatry at mom’s apartment 4.1.In terms of idolatry…
5.Getting an instrument of destructive power 5.1.In terms of idolatry…
6.Meeting Sophie in the awful elevator of their awful building
7.Mother expressing lack of faith in son’s comedy career 7.1.In terms of idolatry…
8.Accidentally discharging gun at home
9.Stalking Sophie and taking notes at pogo’s Comedy Club
10.If you’re happy and you know it, stomp your feet . . . 10.1.In terms of idolatry…
11.Send in the Clowns 11.1.In terms of idolatry…
12.Catharsis in public bathroom, finding self-confidence, solace with Sophie
13.Punching out at Ha-Ha’s 13.1.In terms of idolatry…
14.The prelude to “nothing but clowns” wreaking havoc in down-town Gotham
14.1.In the first terms of idolatry — Wayne, the wedge driver
14.2.In the second terms of idolatry — Wayne, the flame fanning fire fighter
15.In front of an indifferent Social Worker, stressing the undying need to be noticed
16.Premiere at pogo’s Comedy Club, hanging out with Sophie 16.1.In terms of idolatry…
17.Son of Thomas Wayne? 17.1.In terms of idolatry…
18.Confrontation at Wayne Manor
19.Mother lands in hospital 19.1.In terms of idolatry…
20.Humiliated by Murray for everyone to see
20.1.In terms of idolatry . . . Murray humiliates Arthur by televised retaliation
20.2.In terms of idolatry . . . Arthur retaliates by killing Murray in his mind
21.Collective resentment building in the city reaching boiling point 21.1.In terms of idolatry…
22.Confronting Thomas Wayne inside of Wayne Hall 22.1.In terms of idolatry…
23.Invited by Murray and finding out the truth about himself
23.1.The meaning of Arthur’s childhood abuse
23.2.Pathological laughing, repression and Penny’s psychology 23.3.In terms of idolatry . . .
24.Laughing loudly at the joke that is his life 24.1.In terms of idolatry…
25.Killing mother in hospital 25.1.In terms of idolatry…
26.Killing Randall at home 26.1.In terms of idolatry…
27.Completion of transformation into Joker
27.1.Joker the tragic clown and the agent provocateur alternative reality
28.i.Final Showdown with Murray Franklin — The dress-room 26.1.In terms of idolatry…
28.ii.Final Showdown with Murray Franklin — The pièce de résistance
28.ii.1.The meaning of killing Murray on his own live show 28.ii.2.In terms of idolatry…
29.i.Ascending from a Cradle of Flames and Chaos — Mentally murdering Wayne 29.i.1.In terms of idolatry…
29.ii.Ascending from a Cradle of Flames and Chaos — Murdering Wayne in actual fact 29.ii.1.In terms of idolatry…
29.iii.Ascending from a Cradle of Flames and Chaos — Crowd of clowns openly idolizing Joker 29.iii.1.In terms of idolatry…
30.Summary Analysis: Arthur’s Negative Transmutation


23.Invited by Murray and finding out the truth about himself

When he returns home later that night, an emotional Arthur–naked from the waist up–can be seen emptying out his refrigerator and unhesitatingly stepping into it when done, sure to close the door shut from the inside. All the while, he has his answering machine play out a recording made earlier that day — it’s from one of the two detectives, Garrity: telling him that they came over to the apartment today, but when finding no-one present, left a message instead, one in which they ask for his cooperation in answering a few more questions.

That next morning, Arthur receives another phone-call, this time from a show-booker representing no less a personality than Murray Franklin himself. Without a seeming care in the world, she innocently tells him that, after broadcasting the recording of his fateful gig at pogo’s Comedy Club, the show received an amazing response from their viewership, which promptly inspired Murray to invite the shining star of the stunning performance to come on the show and make a guest-appearance. A few seconds later, after this news has sunken in, the once-aspiring stand-up comic–itching to get even–accepts and they set up a date.

Before suffering a bout of indirect yet televised humiliation, Arthur would have had real reason to jump for joy at the occasion of being invited to come on the show of his big idol. Since that big hero has turned into a big nemesis in the meantime, however, that situation has changed drastically. Indeed, the public-image-molesting sort of pill he has to swallow is even more bitter now that it turns out that Murray’s little joking episode at his expense has been so fruitful that an evidently large number of people have proven able to remember his momentous aired appearance by making the effort to call the show and try to have the ridiculed clown make a follow-up live appearance, so that they–the entire audience, live and TV–get to have an opportunity to once again laugh at him, right in his face even — if part of the live audience.

At least, such type of scenario–in which he will get the dubious honor to act, in front of everyone, as a walking-talking butt-of-a-joke–is how it would appear to Arthur; his worries seem to hold water that effectively Murray’s initiated potential idolatry practices, have spilled over, mutated, metastasized, into more lasting or robust actualized counterparts — in which God knows how many people have taken to heart and mind, Murray’s televised depressingly-disparaging and dreadfully-deflationary image impression of him. And so, yes, he will come on the older other clown’s show alright, but only if this time the younger clown will get to have the chance to enjoy himself at now the older clown’s expense. His reasoning seemingly being, effectively: You hurt my precious little image, my worshipful little name & legacy, then I’ll hurt your precious maybe-not-so-little image, your worshipful maybe-not-so-little name & legacy. It’s called tit for tat. . . or perhaps more like, TIT! for tat.

Arthur can be seen sitting in a bus taking him to Arkham State Hospital. He walks in and heads over to the Documents & Records Office, determined to obtain the file detailing his mother’s alleged admission happening in the early fifties. After a while, the clerk helping him returns from the basement carrying with him a box containing records from that period.

Clerk: Sorry about that, my man. All records ten years old are in the basement. You’re talking some thirty years ago,– I had to do some serious digging.
The clerk opens the file box. Starts digging though it.
Arthur: Can I ask you a question? How does someone wind up in here? Have they all, all the people, committed crimes?
Clerk: (going through the files) Yeah, some have. Some are just crazy, pose dangers to themselves or others. Some just got nowhere else to go. Don’t know what to do, you know.
Arthur: (nods; looks down) Yeah, I hear ya brother. Sometimes I don’t know what to do. Last time I ended up taking it out on some people. I thought it was gonna bother me, but it really hasn’t.
The clerk finally looks back at him–
Clerk: What’s that?
Arthur: I fucked up. (talking through teeth) I did some bad shit. (chuckles) And I don’t really wanna talk about it. It’s just so hard to try and be happy all the time.
Clerk: (taken aback) Listen, I’m just an administrative assistant, like a clerk. I file paperwork. I don’t really know what to tell you, but you should see somebody– they have programs, city services, stuff like that.
Arthur: (backtracking) Oh yeah. They cut all those.
The clerk just stares at Arthur–
Clerk: (realizing) Wait, I know where I’ve seen you,– You were on Murray Franklin the other night, weren’t you?
Arthur: No. I don’t know what you’re talking about.(23.1)
Clerk: (shrugs, goes back to looking through the files) Sorry, Murray just killed some poor guy on TV,–
The clerk shakes his head to himself, finally finds what he was looking for.
Clerk: (surprised) Alright. Here it is, Fleck. Penny Fleck.(nods, skim-reading) Uh-huh. Diagnosed by Dr. Benjamin Stoner… The patient suffers from delusional psychosis and narcissistic personality disorder… Was found guilty of endangering the welfare of her own child–
The clerk stops reading out loud, eyes going wide as he skims further ahead. Arthur just looks at the guy, waiting to see what he’s gonna say.
Arthur: (bracing) What?
Clerk: (wary) You said she’s your mother?
Arthur just nods.
Clerk: (closes the file) I’m sorry, man. Like I said, I can’t release these records without the proper forms. I could get in trouble. Look, if you want to bring your mom in here to sign, that would be much easier, but I can’t let this go without her signature. Okay? I’m sorry.

Arthur just stands there, thinking it all over for a moment. Then reaches in under the metal cage and snatches the file–The clerk grabs it as well. They play tug-of-war with the file, it’s awkward and goes on way too long. Out-of-nowhere Arthur slams his own head violently against the metal grate, surprising the guy, allowing him to pull the file away– Arthur takes off running down the hall with it. The clerk watches for a beat, but does nothing.

Arthur running down the hallway, files in his hands. Frantic. Unaware he is not being chased. Turns a corner and runs down another long hallway. Gets to a stairwell door and runs in. Dashing down a few flights all helter-skelter, he suddenly stops on a midway landing to read from the file. There in the stairwell he finds out that Wayne had told him the truth, that he was adopted after all; the person going around pretending to be his mother had been lying all those years about who she really was to him. He glances over some old newspaper cut-outs that are about him and his “mother”, which all detail abuse and neglect; learning that he was abused as a child by one of her boyfriends; and she let it all happen, including her own abuse by that same boyfriend — with the doctor treating her, visualized in a flash-back sort of scene, stating–as recorded in the clippings–that young Arthur was found tied to a radiator in her filthy apartment, malnourished, with multiple bruises across his body and severe trauma to his head; to which the pretend mother can be seen responding by saying, I never heard him crying. Not once. He’s always been such a happy little boy.(23.2)

In response to this avalanche of life-upending personal information, suddenly jacked up by an overwhelming flood of painful inner anxiety, Arthur suffers a laughing fit–in a reflexive yet superficial attempt to get rid of such highly disconcerting (egodystonic) sort of nervous tension–but it is apparent that he is covering up a lot of inner existential pain and grief as well; and so, more than anything, in a literal sense, is laughing so that he may not cry (and indeed finishes his fit in more of a crying state than one of laughter).

23.1 The meaning of Arthur’s childhood abuse

By somehow managing to blind herself to its actuality, Penny never seems to have openly objected to the abuse. Whenever her adopted young child was subjected to abuse, she somehow must have been able to ignore what her eyes and ears were telling her. By way of cognitively filtering out and selectively dismissing incoming sensory information of an actually quite alarming and extraordinary nature, she somehow must have been able to fool herself into believing that nothing out of the ordinary was going on, failing to register externally-supplied distress type of signals–like crying or screaming–which otherwise would inform her that the besieged boy was in a clear state of arbitrarily dire distress.

Instead, just like Arthur himself, Penny seems to have resorted to repression as her favored ego-defense mechanism in the way with which she dealt with the actualization of abuse victimizing the very child she nevertheless was expected to protect. Effectively left morally blind, Penny–rather than being able to act as a vigilant and responsible guardian–appears to have been unable to recognize her adopted son when presenting himself to her in ways which she failed to find bearable to the senses.

Indeed, she seems–at least during that particular mentally-troubled period of her life–to only have been able to recognize him to full extent when presenting himself while radiating happiness. She didn’t call him Happy for no reason, after all — capable of seeing him, with a bit of bad luck, only through the selective and restrictive lens of expressive happiness (whether such happiness be genuine or counterfeit in origin), incapable of recognizing him if appearing to her in a state of unhappiness; the more unhappy he was, the less she seems to have been able to recognize him. Insisting on her adopted son to focus on what she all throughout his life seems to have drilled into him as being his unswerving life-mission, to spread joy and laughter in the world around him, Arthur was likely given little opportunity to reflect on and process his own abuse; and by way of employing repression, just like Penny, never seems to have become truly conscious of his abuse — a glaring deficit, a gaping hole, in childhood-pertaining self-awareness as to which he implicitly admitted its sore existence in front of the Social Worker earlier.

When it comes to what could possibly have inspired the boyfriend to commit the abuse which he did, this is impossible to say with accuracy of course and goes well beyond the scope of the movie (unfortunately!). But we may nonetheless come up with a plausible scenario based on what we do know. Suppose that the boyfriend would have had the sort of psychic constitution which left him vulnerable to humiliation, a sensitivity for shame, that he had had a problem with being on the receiving end of shame (due to having a mental constitution with, among other things, a Narcissistic component — compatible with Penny’s own such leanings). If we keep in mind young Arthur’s indoctrinated penchant to present himself to the people around him in a state of merriment, what if this boyfriend–at some occasion, through whatever triggering circumstances–came to have the impression that Arthur was making fun of him, that this young kid seemingly went around ridiculing him; and that he just couldn’t handle it, being put in a seeming state of personal embarrassment, by a mere child no less.

As such, the guy sooner-or-later may have seen himself (entirely) vindicated to berate young Arthur for his apparent insolent and degrading sort of behavior. However, by way of compulsively hanging on to his penchant for spreading joy and laughter, Arthur may have been left unable to change his behavior, thus ending up again-and-again seemingly humiliating the shame-sensitive boyfriend. As the resentment of the boyfriend toward a cheeky Arthur grew as a result, things between them could very well have escalated and at some stage the boyfriend began to abuse Arthur; and all the while that same boyfriend may have managed to rationalize away his abusive behavior, seeing it as only being a justified and proportional sort of punishment for having had to put up with what then might very well have struck him as an insufferably annoying (wee bit sadistic) little kid.

To the extent that he–throughout his relationship with Penny–remained entirely unrepentant and unapologetic of his inflicted abuse, an immediately tragic message which the abuser boyfriend couldn’t help but send young Arthur, as well as Penny, was the toxic idea that flagrantly and brutally violating boundaries of other people by way of inflicting arbitrary physical abuse, might just be a justified thing to do, an all-fine-and-dandy appropriate form of punishment under certain triggering circumstances, especially perhaps if suffering humiliation, if being made the butt-of-a-joke, if made fun of (the way the boyfriend might have felt made fun of by a young Arthur goofing and frolicking around).

In addition, both the mother and son–due to being avid users of mind-numbing repression as their favored ego-defense mechanism–never seem to have been able to make any meaningful conscious effort to reflect on the moral ramifications of the abuse. What is especially relevant is that Arthur seems to never have become truly conscious of the most basic of principles underlying Morality 101, the idea that flagrantly and brutally violating boundaries of other people, including in particular resorting to arbitrary physical abuse, is usually an immoral thing to do and which is only warranted under exceptional playing-all-meek-and-nice-overriding sort of circumstances of abrupt and overwhelming personal emergency and peril.

Most tragically and ironically, Penny would precisely have had a just cause to go and violate the boundaries of her boyfriend, brutally if need be, when he was busy either abusing her or Arthur. After all, self-defense or defense of those under your wing of protection (like children), constitutes a sound reason for intervening with overwhelming physical power, fire power if need be. And yet, she did nothing; basically standing by idly while her boyfriend abused her and her kid. As such, by her effectively lethargic indifference, by her apparent guilt-absorbing laissez-faire sort of masochistic attitude, she could not help but implicitly signal to all involved parties–boyfriend, herself and Arthur–that the abuser was in the right when executing his abuse.

Arthur was therefore left prone to succumb to the ever-simmering-below-the-surface sort of temptation to believe that inflicting physical abuse might not be such a terrible thing to do under the right kind of trying circumstances, if–for example–he would be convinced that his possible victim(s) were only deserving of their (pending) punishment, deserving to be subjected to offense-redeeming expressions of physical penance — the sort of punishments which Penny’s old boyfriend might very well have seen fitting for application to a young Arthur, such a “pain-in-the-ass” sort of kid, one that “makes your blood boil”.

Inspired quite possibly by taking example from Penny’s abusive boyfriend, following thereby in the existential footsteps of his childhood abuser, if Arthur would thus have gained for himself a mental means to rationalize away the infliction of his possible abuse on other people, however, he regrettably also opened up himself to the at-once dreadful risk of developing into a sadist. In order to be able to decently sleep at night, sadists may be expected to do rather well (if not outrightly excel) at projecting guilt (away from themselves and) onto their victims, all with the aim of justifying their infliction of abuse, egosyntonically reinterpreted as merely justified expressions of punishment, viewing their victims not so much as such but rather as (despicable) culprits only deserving of their punishment, physical or not, only deserving to be purged by passionate violence from their guilty unsavory motives and atone for their arbitrarily-grave transgressive behavior.

As for Penny’s boyfriend is concerned, I think the biopic movie called This Boy’s Life (1993) provides for a decent example. Played also–as it happens–by Robert De Niro, Dwight seems to fit the bill: shame-sensitive (Narcissistic), coarse, violent and morally retarded, yet in the beginning of his romantic relationship with the woman lead character, presents himself with exemplary charm and courtesy. The trouble starts when Dwight finds out that Toby, the teenage son of his new girlfriend, made fun of him behind his back. A power struggle between Dwight and Toby builds and eventually escalates to the point at which Dwight almost ends up strangling Toby to death. Dwight could have been Penny’s boyfriend.

23.2 Pathological laughing, repression and Penny’s psychology

When it comes to his capacity to understand himself (or other people, for that matter), the pathological nature of his laughing response constitutes a most unfortunate handicap. Steeped deeply in automatically inappropriate ridicule, easily mistaken to convey mockery (easily excluding any trace of sympathy), his excessively-applied yet involuntary laughing response serves to relieve inner psychic tension that should not necessarily be relieved that readily and easily, including the otherwise uncomfortable and disconcerting sort of tension which might be due to a burdened conscience. For when relieved from that sort of tension, if only temporarily, he risks being dissuaded from trying to find the real reason or reasons as to why said potentially alarming sort of tension was generated from within to start with.

Laughing in such a neurotic sort of dubious way seems to function more than anything as an ego-defense mechanism: by draping something in (a thick layer of) ridicule, it tends to render redundant the need to take things to heart and mind, forgoing the need to take it seriously (the mere joke it would be, something funny), thus helping to repress whatever it happens to be that elicited the laughing response, including all (egodystonic) manner of personal unpleasantness. Seeking refuge in ventilating neurotic laughter thus serves to enable repressing effectively unbearably uncomfortable emotional baggage tied to whatever difficult personal event or experience, especially if of a quickly-getting burdensome conscientious kind.

As such, Arthur was left with a profound handicap as to his capacity to understand himself as well as his mother; and so he would have the greatest of difficulties to realize that his own (if counterfeit) mother resorted to repression herself whenever either she or her adopted son suffered abuse. Arthur is retrospectively unable to understand his mother, and that includes her manifested parental incompetence. Instead, Arthur now is sooner tempted to condemn his adoptive mother for her evident failure to be a good guardian, for her failure to prevent at least his abuse from occurring. Indeed, he is left in an awfully rough spot to be able to forgive her, because she left him all by his helpless tiny self in an awfully rough spot first. Whereas Penny used repression first to effectively allow the suffering of Arthur, there might just come a time when Arthur will see himself entirely vindicated to use it to effectively allow the suffering of Penny in a similar type of abuse-situation, thus coming to fulfill a sort of Karmic quid-pro-quo reciprocity (or Karmic tit for tat).

Arthur basically admits to not experiencing conscience problems for killing the three Wall Street guys, which means that the functional capacity of his conscience must be dwindling substantially and that concomitantly he sees himself increasingly justified–consistent with a burgeoning sadistic mindset–in his nevertheless immoral conduct, arguably much like seeing himself as an eternal victim seeking justified redemption, forever working to get even, more specifically like a victim of an inherently unjust sort of system entitled to seek compensation for sustained suffering (for all those miserable long, long years).

What might make his murders even less of a conscience burden, indeed, more palatable still, is the comfort he may draw from the support he indirectly gets from all those of Gotham’s residents who show to identify with him after-the-fact: all those protesters who now go around wearing clown masks touting the killer clown as some kind of hero, their choice rebel crusader bravely fighting against what they all imply to believe is an inherently evil and oppressive edifice of wealth and power, at which leadership positions are clothed by a small exclusive club of people who hold sway over Gotham like gods accountable to none; not shying away from invoking terror and exploitation, championed by self-styled figureheads like Thomas Wayne — all going at the expense of the working class poor, the rejected, the defective, the rabble, the little people, the cannon fodder, the useless eaters, . . .

Penny turns out to have suffered from clinical Narcissism, a diagnosis consistent with her apparent status-seeking penchant to gravitate toward men of power, male potential mates who would offer her the opportunity to bask in their glory, getting to soak up some of the praise and acclaim those types of men themselves command, getting to share in those soothingly succulent showers of praise, thus being able to feed her own Narcissism; all the while, as a welcome bonus, getting to be physically removed from all those people she now shows to have a problem with: poor people who are her factual socioeconomic peers, persistently painful reminders of her own self by doing no more than merely being in her verifiable vicinity, thus faithfully serving to mirror her own Narcissism-deflating poverty-stricken pitiful personal plight.

It could very well be that this is why she ended up having the violent and abusive boyfriend which she (at least) once did back in the fifties. While blinded by her own perhaps eagerly-touted Narcissistic victory for having had the fortune to find one hell of a man, she quite possibly might have misread his seemingly attractive superficially-revealed character as an exceptional man of power being something that would be good for her too; that he would be perfectly capable of protecting her–ironically enough–precisely from whatever personal unpleasantness she would feel burdened by, or whatever sort of danger she felt threatened by; misinterpreting her pending boyfriend in the sense that his (undeniably) sadistic tendencies possibly already manifesting–his penchant to shame people, his penchant to articulate power of an intimidating or punitive kind–would never ever be used against her.

When it turned out that Penny was unable to recognize young Arthur while presenting himself to her in ways opposite of “happy”, it might be a sign of a deeper more general psychic defect (albeit one that is consistent with her Narcissistic disposition to recognize her own mirror reflection above all else): that Penny suffered from either an inability or impediment to see people other than in the ways or image impressions she wanted to see them — thus leaving her more-or-less defenseless when it came to the eventuality of falling for the wrong type of guys, as she would then–whenever they did enter into her lifeeither be incapable of seeing their true colors shining through the veneer of pretense or be incapable of seeing that those true colors, those quite possibly wonderfully-appealing and mesmerizing colors of personal status and exceptional power, might unfortunately very well herald a victimization of her own self.

23.3 In terms of idolatry . . .

(23.1| Arthur once again lies when feeling the need to explicitly deny the truth in order to avoid the shame that he implies to anticipate coming down on him if only–in entirely naked fashion–confirming to the clerk having been on that one fateful Murray Franklin Show; and likewise–in that same naked vein–admitting to have suffered the humiliation and degradation which he did because of it. Even though Arthur saves himself from the unattractive prospect of openly and frankly owning up to it, the clerk–by dryly declaring that Murray just killed some poor guy on TV–is sure to nevertheless casually rub it into Arthur’s face that the venerated host had gone and did a number on him, on his reputation as a comedian trying to make it, ruthlessly annihilating his prospects to reach for the stars — or so it would appear to an Arthur particularly sensitive about his image and somehow painfully hampered from being able to put his back into trying to improve his comedic skills (owing to an apparent psychic blockage type of learning-disability which may be due to his unprocessed traumas, in conjunction with a yet-to-be-recognized underlying spiritual condition of a self-sabotaging nature). Being noticed by another person for the one painfully wrong reason, what to Arthur is an unbearably egodystonic sort of reason, a painful deflationary image-offending affirmation coming from fellow Gothamers like this one clerk in front of him, only stand to further solidify his hatred for Murray (the big big evil-doer bringing down hell upon him, or so it would seem to Arthur).

Arthur’s act of deception may be captured by the following script:

i. Psychic Abuse of the Deceptive kind: Level = Moral Error; Perp = Arthur; Victims = Arthur&Clerk; Audience = Arthur&Clerk;

1. Incoming-stage: Arthur initiates a potential practice of Abstract…
{+} Arthur-idolatry:[X] I was not on the Murray Franklin Show; [X] I have no idea what Clerk is going on about;
{} Clerk-idolatry:[M] I am wrong when recognizing Arthur to have been on the Murray Franklin Show;
Abstract Pidols are distributed over Audience;

2. Scene of Immorality-stage: Arthur initiates a potential practice of Concrete PrimePidol-targeted…
{+} Arthur-idolatry: Superior by Lying to Audience/ about Victims/ – Using Verbality&Name&Body/;
{} Audience-idolatry: Inferior by Being Lied to by Arthur/ Lying about Victims/ – Using Verbality&Name&Body/;
{} Victims-idolatry: Inferior by Being Lied about by Arthur/ Lying to Audience/ – Using Verbality&Name&Body/;
{} Arthur-idolatry: Inferior by Being Used in Verbality&Name&Body/ by Arthur/ to Lie to Audience/ about Victims/;
Each exposes PrimePidol audiovisually to the other, and audially to self;

3. Rationalization-stage: Arthur initiates an implicit potential practice of Abstract…
{+} Arthur-idolatry: Righteous and Entitled to Lie to Audience/ about Victims/ – Using Verbality&Name&Body/;
{} Audience-idolatry: Unrighteous and Deserving to be Lied to by Arthur/ Lying about Victims/ – Using Verbality&Name&Body/;
{} Victims-idolatry: Unrighteous and Deserving to be Lied about by Arthur/ Lying to Audience/ – Using Verbality&Name&Body/;
{} Arthur-idolatry: Unrighteous and Deserving to be Used in Verbality&Name&Body/ by Arthur/ to Lie to Audience/ about Victims/;
Abstract Pidols are disseminated over Audience;

In summary, qualitatively, Arthur incurs authentic guilt toward everyone whom he involves in his deception — Clerk and especially toward Arthur himself;

4. In terms of sacrifice, by lying to the other’s face, Arthur obviously puts an otherwise Golden Rule-compliant relationship with the clerk on the line. On the idolatrous altars catering to his deception, from his own end, he sacrifices some of the quality of their future possible relationship. In addition, by stealing the file, or at least seizing it and keeping it (momentarily) in his unauthorized possession, Arthur threatens to sacrifice even more of their relationship, since he might cause the clerk to run into trouble with his employer, ending up fearing for his job. However, he could still save the day (somewhat) if he would just return the file afterward, or at least make sure it ends up again in the clerk’s possession (with an apology-note tied to it).

In terms of actualization and conscience, if we make the reasonable assumption that Arthur knows he is lying, and unless he comes clean to the clerk before taking off again, he will have to rationalize away the fact that he is trying to deceive the other. In other words, Arthur may be expected to actualize his own practices by rationalization, though obviously not out of respect for his authentic conscience; but would do so in line with his inauthentic shame-avoiding conscience; he obviously lies in order to dodge the shame that might come his way if admitting the embarrassing truth to the clerk. At least for now, the clerk seems gullible enough to buy into Arthur’s lie though, and therefore seems quite willing to actualize the clown’s practices by gullibility. |23.1)

(23.2| Every time Penny’s boyfriend went to (grievously) abuse young Arthur, his immoral action may be represented in script-form as follows:

i. Physical Abuse of the Body kind: Level = grievous Moral Crime; Perp = Boyfriend; Victim = Arthur; Audience = Boyfriend&Penny&Arthur;

1. Incoming-stage: Boyfriend incurs authentic guilt toward Arthur for physically abusing him in further-to-be-specified (but severe) ways;

2. Scene of Immorality-stage: Boyfriend initiates a potential practice of Concrete PrimePidol-targeted…
{+} Boyfriend-idolatry: Superior by Bodily Abusing Victim/ in front of Audience/ – Using Name&Body/;
{} Boyfriend-idolatry: Inferior by Being Used in Name&Body/ by Boyfriend/ Bodily Abusing Victim/ in front of Audience/;
{} Arthur-idolatry: Inferior by Getting Bodily Abused by Boyfriend/ in front of Audience/ – Using Name&Body/;
Each exposes PrimePidol audiovisually to others of Audience, audially to self;

3. Rationalization-stage: Boyfriend initiates an implicit potential practice of Abstract…
{+} Boyfriend-idolatry: Righteous and Entitled to Bodily Abuse Victim/ in front of Audience/ – Using Name&Body/;
{} Boyfriend-idolatry: Unrighteous and Deserving to be Used in Name&Body/ by Boyfriend/ Bodily Abusing Victim/ in front of Audience/;
{} Arthur-idolatry: Unrighteous and Deserving to be Bodily Abused by Boyfriend/ in front of Audience/ – Using Name&Body/;
Abstract Pidols are disseminated over Audience;

In summary, qualitatively, Boyfriend incurs authentic guilt toward all involved in his Bodily Abuse — Penny, more so toward Arthur and especially toward Boyfriend himself;

4. In terms of sacrifice, each time the boyfriend went to abuse young Arthur–unless he would come to his senses, apologize and make amends for the suffering he caused–the abuser boyfriend obviously made it more difficult from his end to have a future Golden Rule-compliant relationship with his victim and the victim’s guardian; he came to sacrifice quality of these two relationships from his own end; he incurred guilt toward Arthur and Penny, and so only more tension stood to creep into the relationships from his end, thus instinctively expecting revenge or reproach coming from his victim as well as his victim’s guardian, which stood to inspire only more (defensive) hostility from his end, potentially precipitating only more abusive punishment as the progressively paranoid abuser would keep projecting guilt away from himself and unto young Arthur as well as Penny, of whom he arguably increasingly perceived the boy to be sadistic in his ongoing efforts–neurotically coaxed by Penny–to be “annoyingly” happy and smile “suspiciously” also at the boyfriend.

By resorting to repression in response to each passing abuse-episode, Arthur as well as Penny seemingly tried hard to ignore all that the abuse meant to them; they went to sacrifice some of their mental sanity and were left a little bit less able to live in truth. In addition, consistent with his penchant to repress awareness of personal unpleasantness, it could also be that young Arthur–in his still developing vulnerable mind, apparently left at his own devices by a mother failing in her protective maternal function–came to accept the grounds for the abuse by effectively absorbing the guilt which the (sadistic) abuser implicitly projected unto him by way of unapologetically inflicting the abuse, consistent with what would then be a masochistically-oriented attitude (possibly following in the footsteps of an already masochistically-minded Penny). We have already seen this sort of attitude manifest when Arthur let himself getting beat up by those (sadistic) kids in the beginning of the story, as if to say: mea culpa; beat me up; I’ll have it; I deserve it.

In terms of actualization, an unrepentant boyfriend might have seen himself entirely justified to abuse both his girlfriend and her son; seeing it not as abuse as such but merely justified punishment, only serving to correct the kind of behavior which he ultimately had deemed impermissible and intolerable. The boyfriend would then likely be more than willing to actualize his own practices. However, to the extent that neither one of them openly objected, both Penny and young Arthur likewise gave their tacit approval simply by way of receiving the abuse in silence and without manifesting resistance.

In terms of conscience, what the boyfriend did obviously clashes with the Golden Rule and is therefore hard to explain in terms of his authentic conscience. Relative to his possibly existing power-seeking inauthentic conscience, however, the boyfriend might have been inclined to believe that he did not do so badly at all; his episodes of violence and abuse served to establish power over his victims. Every time he successfully went to abuse either Penny or Arthur, he showed having power over them; that his victims were his inferiors instead of his superiors (acknowledging the latter contingency would be his greatest nightmare, an absolute no-no to someone who idolizes power). |23.2)


24.Laughing loudly at the joke that is his life

When returning home, soaked from the rain, shaken to the core of his being, in a barely responsive state, he finds his way not to his own apartment but rather shuffles over to Sophie’s, as if in a trance (obviously not a pleasant one) — and when finding her door open, unhesitatingly seizes the liberty to stray inside, freely seating himself on her couch in the living room. A few seconds later Sophie emerges from what appears to be her daughter’s bedroom and enters the living room, only to find a completely unannounced and uninvited visitor in the disheveled zombie-like state he is in.

Sophie: (startles) Oh my god! What are you doing in here?
Arthur just keeps staring awkwardly to the floor right in front of him.
Sophie: You’re in the wrong apartment. . . Your name’s Arthur, right? You live down the hall.
He nods in the most marginal of senses.
Sophie: I really need you to leave. My little girl’s sleeping in the other room. . . . Please.
Arthur: (mumbles) I had a bad day.
Sophie: Can I call someone. Is your mother home?

He raises his head slowly as if waking up from a deep comatose sleep, slowly turns his upper torso so he can see Sophie standing several feet behind him, slowly brings his right hand to his head while looking at her with pain and desperation in his eyes and makes it into the shape of a gun, a gesture she recognizes only all-too-well, leaving her gasping for air in shock; realizing that–unlike the time she flashed the same gesture down in the elevator–the more-or-less lighthearted tongue-and-cheek context no longer applies.

Now would be the time for Sophie to pursue compassion for Arthur and yet fails to do so. Why? One possibility is that he, in keeping with any dubious possible social skills picked up due to his own childhood traumas, had gone to violate her boundaries so flagrantly by entering her apartment without prior permission, and she did not tolerate that. I was under the impression that they had become pretty close though; maybe not — but then again, entering apartments without say-so is not really nice, friends or not (and even more so when presenting himself in the inaccessible if alarming way he does).

Keeping in mind his irresponsive state down in the hospital while she was there to comfort him for his mother, it could very well be that she since had come to the realization that there was something seriously wrong with Arthur, that while being in the deplorable mental condition he was in, he was not suitable romantic partner material. Perhaps she also had come to sense that he might just be a tad more interested in making a name for himself – whether one of fame or infamy; that he, in fact, more than anything was preoccupied with getting to be recognized as–whether for good or bad reasons–an object of adulation and adoration; since such state of being, after all, gave him the clearest indication of existing, of feeling alive. It could very well be that Sophie had begun to sense that having him for a partner would mean that his tenacious depressed state, tied to his fatalistic image-oriented obsession, was eventually going to drag her down as well.

A few moments later, the door of Sophie’s apartment swings open and Arthur rushes clean out without stopping or flashing the faintest glance back — instead, looking down in fixed yet-no-particular direction right about in front of him, more grim and gloomy looking than ever, void of any hint of emotion. It’s left unanswered as to what happened to Sophie and her daughter, but I think it’s safe to say that there no longer is any romance hanging in the air between the two practical neighbors.

Later that night, he is sitting alone on the couch in his mother’s apartment, laughing. The TV is on but he’s not watching it. He just continues to laugh, rolling onto his side from the joke that his life seems to be.(24.1)

By his persistent pathological laughing response, Arthur shows to want to reject–and vehemently so–what is really happening to him. He seeks to ridicule the substance of his own life, which by necessity also includes the life of his (non-biological, factually adoptive) mother, as it of course is inextricably linked to his own. By trying to laugh it all off, however, he risks forgoing the nevertheless crucial need to examine his life, and carefully so, especially his formative years as a child, the things he experienced as a child, the traumas he suffered in particular, and trying to understand them including his particular responses to them using his own meditative intelligence, his own investigative faculty of reason — although under the possible auspices of an effective psychiatrist or psychoanalyst, especially useful since his emotional connection to his traumas are tucked away into the recesses of his unconscious through repression.

And so, by way of his penchant for reflexively-reactive neurotic laughter, he would then willfully remain at a loss to understand how such adverse and trying personal events went on to shape his character early on in life; thus denying himself a form of self-understanding which could otherwise–in turn–also help him understand Penny’s own repressive responses to her traumas as well as her disturbed possibly-masochistic mindset causing her to neglect him, especially during episodes of abuse, and therefore left her incapable of protecting him in effective manner.

By resorting to unfettered bouts of ridiculing laughter, automatically serving to relegate the object of amusement to the realm of knee-slapping absurdity, Arthur–when succumbing to the sadomasochistic temptation to assume an inordinate amount of justifiability in his factually maladaptive laughing neurosis–risks setting himself up as a disturbed and self-righteous sort of judge. As such, he risks assuming the role of a sadistic saboteur when ruling other people, including in particular his mother, to be ridiculous, not deserving to be taken seriously at all; and he likewise risks assuming the role of a masochistic self-saboteur when happening to rule also his own life to deserve nothing but ridicule, likewise not to be taken seriously at all, and therefore likewise not at all worthy of (painstaking) investigation and scrutiny.

In order to understand himself as well as his mother and their shared history, Arthur needs to be able to access his inner reservoirs of love that would mobilize and direct his mind aimed at sympathetic understanding of his own person and his mother, using what would then be available patience and a functional inner drive to comprehend especially his own psyche. Unfortunately, by mindlessly laughing his ass off instead, he now rather offhandedly squanders away his potential for understanding, while replacing it with a twisted egosyntonic hatred draped in misplaced and reflexively judgmental sadomasochistic ridicule.

And by having thoroughly ridiculed his mother in his mind, having utterly mentally devalued her, having effectively terminated any sort of affection he might have had for her, the step to terminating her in real life is all-of-a-sudden not that large any more. Indeed, by causing him the pain and heartache all throughout his life that he now holds her responsible for, Arthur may sooner have reason to expect feeling relief than sorrow if she would just go away . . . permanently.

24.1 In terms of idolatry . . .

(24.1| Arthur’s seemingly protracted laughing episode may be interpreted as an exercise of ridicule serving to prejudicially dismiss his own life as well as that of his mother. The corresponding script reads:

i. Psychic Abuse of the Prejudgment kind: Level = grievous Moral Crime; Perp = Arthur; Victims = Arthur&Penny; Audience = Arthur;

1. Incoming-stage: Arthur initiates a potential practice of Abstract…
{} Victims-idolatry:[M] Being ridiculous; not worthy of being taken seriously or sympathetically (at all);
{+} Arthur-idolatry:[M] The opposite of being ridiculous; worthy of being taken seriously and sympathetically;
Abstract Pidols are distributed over Audience;

2. Scene of Immorality-stage: Arthur initiates a potential practice of Concrete PrimePidol-targeted…
{+} Arthur-idolatry: Superior by Prejudging Victims/ in front of Audience/ – Using Name&Body/;
{} Arthur-idolatry: Inferior by Being Used in Name&Body/ by Arthur/ to Prejudge Victims/ in front of Audience/;
{} Arthur-idolatry: Inferior by Being Prejudged by Arthur/ in front of Audience/ – Using Name&Body/;
Arthur exposes PrimePidol audially to self;

3. Rationalization-stage: Arthur initiates an implicit potential practice of Abstract…
{+} Arthur-idolatry: Righteous and Entitled to Prejudge Victims/ in front of Audience/ – Using Name&Body/;
{} Arthur-idolatry: Unrighteous and Deserving to be Used in Name&Body/ by Arthur/ Prejudging Victims/ in front of Audience/;
{} Victims-idolatry: Unrighteous and Deserving to be Prejudged by Arthur/ in front of Audience/ – Using Name&Body/;
Abstract Pidols are disseminated over Audience;

In summary, qualitatively, Arthur incurs authentic guilt toward everyone involved in his nonverbal act of ridiculing Prejudgment — Penny and especially toward Arthur himself;

4. In terms of sacrifice, his laughing fit leaves him with ever more difficulty to relate to himself and Penny in a loving sort of way, in a Golden Rule-compliant way. He makes it harder for himself to effectively care for Penny as well as himself when implying them both to be ridiculous. He therefore sacrifices self-love and self-respect as well as love and respect for Penny. And so now he moves himself into a position at which he just doesn’t care anymore, feeling indifferent as to the fate of himself as well as Penny, both relegated to the realm of redundancy, of carefree comedy, too funny to be taken seriously (as warm-blooded human beings).

A dissociative Arthur thus ends up identifying with that part of his personality which he in the beginning of the story still resisted to identify with; now embracing it with ever more cause and conviction, while distancing himself with ever more bitter passion from the other more authentic part of himself. The dissociation-promoting nature of his self-sabotaging action is also apparent from the preceding script: on the one hand he prejudges himself and Penny to be ridiculous, but on the other hand he also prejudges himself as the opposite of ridiculous since he, after all, is doing the ridiculing himself. It’s as if one part of his own person (his inauthentic self), is engaged in condemning another part of himself (his authentic self).

In terms of actualization, I expect Arthur to readily embrace and actualize his own practices on the basis that he wants to prejudge his life as being ridiculous so as to be able to distance himself away from what in actual fact is his authentic self (self-abnegation); and replace it with a quickly growing hate-fueled loyalty to his ominous inauthentic self, his toxic alter-ego.

In terms of conscience, what he is doing obviously does not jive with his authentic conscience, as dismissively ridiculing himself and his mother does not show love or care for himself or his mother. Relative to his inauthentic praise-seeking conscience, however, he might not be doing so badly; for by rejecting his authentic life, the sort of life which proved incapable of bearing much fruit when it came to the art of earning praise for his person, and trading service to his authentic life with a devotion to his inauthentic self, one which is indirectly lauded by and graced with a seemingly ever greater number of supportive protesters out there, he might just be well on route to succeed tapping into an ever wider and deeper source of praise (even though that sort of praise is due to infamy). |24.1)


25.Killing Penny in hospital

The next morning, Arthur is visiting his adoptive mother in hospital — carelessly smoking a cigarette while she’s lying in bed a mere few feet away, in a now-conscious yet just-the-same barely-responsive weakened state, with an oxygen tube stuck underneath her nose to boot, mind you.

Arthur: Penny. Penny Fleck. I always hated that name. . . You used to tell me, that my laugh was the condition that there was something wrong with me. There isn’t. It’s the real me.
Penny: H-h-happy–
Arthur: Happy? . . . I haven’t been happy one minute of my entire fucking life.
Puts out his cigarette with his foot, casually stands up and makes the few steps necessary to stand right beside her.
Arthur: You know what’s funny? You know what really makes me laugh?
He reaches behind her, grabs one of her pillows as he leans down closer, face-to-face with her, having a look of death on his face.
Arthur: I used to think my life was a tragedy, but now I realize it’s a fucking comedy.

He then puts the pillow over her face, and presses it down with force, making Penny–while gasping, murmuring and struggling in vain–suffocate to death. (25.1)

Arthur kills Penny without confronting her with the sort of questions which would otherwise be obvious: why had she adopted him? — why did she never tell him anything about it? — why did she fail him as a parental figure in other ways? Instead of mercy and curiosity and any semblance of sympathy coming from Arthur, there is nothing but a hateful passion to destroy, a harsh shaming-eager attitude consistent with his utter contempt drenched in ridicule for Penny but also for his own person.

Also when he claims to not having been happy throughout his entire life, he may of course be telling the simple truth; but–consistent with his ever-stronger identification with his dark hateful false self–he may also be bitterly twisting the truth: that he had been happy–after all–when he was little, but that his traumas in combination with his repressive response to them made him forget his happier childhood period from before his traumas. 

By killing his mother, or more accurately, the person pretending to be his mother, Arthur exacts revenge for having suffered all those years due to her ongoing campaign of deception and offensive parental incompetence. Indeed, Arthur–to large extent–owes it to her for turning into the disturbed person he is today. She allowed his childhood victimization to happen, standing by idly while her boyfriend abused him when he was too little to protect himself; and then she also consistently lied about who she was, never telling him she adopted him, never gave him any possibly-available information about his real biological parents. She furthermore recently gave him what soon turned out to be false hope, the hope of being the son of someone who was widely recognized as somebody; and then also, inspired by her parental disinformation, suffered the further tragedies of making a fool of himself in front of that same somebody, twice, once by proxy (in front of Alfred the valet and young Bruce).

And all the while, all throughout his entire miserable fucking life, she liked to address him by the nickname of Happy, thus systematically insinuating to always wanting him to put a smile on his goddam face for the sake of whom he was with, but especially to please her — a subtle form of manipulative tyranny (of a Positive Person-idolizing kind) which was all-the-more aggravating for the little lad as it quickly smacked of mockery if happening to feel the painful opposite of happy. And then, if she hadn’t punished and psychically abused the poor guy enough throughout his life, also dryly managing to pass a for him at once cruel vote of no confidence as to his stand-up comedy aspirations — implying him to just not be able to cut it, not being funny enough. Since he, by default–courtesy of his Narcissism–was left dependent on being noticed by other people to feel alive, this constitutes a particularly harsh verdict coming from his imitation mama — who might have been able to pass her judgment of her adopted son so readily and so carelessly precisely because her fixation on her own Narcissistic needs left her at a terrible (blind) handicap to be able to recognize that her adopted son also had his own profound Narcissistic needs to cater to.

Even though she of course didn’t explicitly order her adopted son to kill her, and while it was clearly wrong of him to kill her, by having had a facilitating hand in bringing about the tragedies of his life, by having had a hand in bringing about his corruption as a person, Penny did facilitate Arthur’s murder of her and so she herself is partly responsible for her own violent and tragic death.

By showing to no longer believe that his easily-triggered tendency to laugh is symptomatic of an underlying case of psychopathology, Arthur now shows to identify with his mental illness to such profound extent that he accepts it as being a real undetachable part of himself — the transformation to his notoriety-craving “Joker” alter-ego is therefore nearing completion. He implies to no longer believe that his pronounced partiality for lubricious laughter is a sign of social ineptitude at best and offensive maladaptation at worst, but instead now shows to consider it more of a personal asset; even though laughing at awkward and inappropriate moments–through its shaming-radiant flavor–betrays almost by necessity an underlying sadistic attitude. In other words, Arthur shows to have since come to terms with his blossoming predatory tendencies, at peace with his pathological penchant to belittle and disparage whatever or whomever he feels like targeting, that–owing to his progressed state of personal corruption–he is content (or wants to be content) with being that scorn-shooting sadist, at ease (if bitterly) with unconsciously confusing–and proudly so–his sadistic and new but false self for his true authentic self.

25.1 In terms of idolatry . . .

(25.1| Arthur’s murder of his adoptive mother may be described in script-form as follows:

i. Physical Abuse of the Body kind: Level = grievous Moral Crime; Perp = Arthur; Victim = Penny; Audience = Arthur&Penny;

1. Incoming-stage: Arthur incurs authentic guilt toward Penny for suffocating her to death;

2. Scene of Immorality-stage: Arthur initiates a potential practice of Concrete PrimePidol-targeted…
{+} Arthur-idolatry: Superior by Bodily Abusing Penny/ in front of Audience/ – Using Name&Body/;
{} Arthur-idolatry: Inferior by Being Used in Name&Body/ by Arthur/ Bodily Abusing Penny/ in front of Audience/;
{} Penny-idolatry: Inferior by Getting Bodily Abused by Arthur/ in front of Audience/ – Using Name&Body/;
Since neither sees the face of the other, each exposes PrimePidol only audially to themselves and the other;

3. Rationalization-stage: Arthur initiates an implicit potential practice of Abstract…
{+} Arthur-idolatry: Righteous and Entitled to Bodily Abuse Penny/ in front of Audience/ – Using Name&Body/;
{} Arthur-idolatry: Unrighteous and Deserving to be Used in Name&Body/ by Arthur/ Bodily Abusing Penny/ in front of Audience/;
{} Penny-idolatry: Unrighteous and Deserving to be Bodily Abused by Arthur/ in front of Audience/ – Using Name&Body/;
Abstract Pidols are disseminated over Audience;

In summary, qualitatively, Arthur incurs authentic guilt toward all involved in his Bodily Abuse — Penny and especially himself;

4. In terms of actualization, Arthur is now so far gone that he probably readily actualizes his own practices, indeed showing to have no conscience pangs whatsoever as he goes.

What will be going through Penny’s mind though, as she is suddenly plunged into a death struggle, from one moment to the next confronted with the experience of having the life being rapidly drained out from her? Why is Arthur trying to kill her? While being subjected to the immense overwhelming anxiety that abrupt suffocation brings with it, will she go on to realize and own up to the guilt burden toward Arthur, accumulated all throughout the time she had him for an adopted son? If she–to the extent that she still has command over sufficient cognitive clarity–was able to recognize her own share of guilt in now having her adopted son trying to kill her (not inconsistent with a possible underlying masochistic attitude), it may then be said that she–up until the time when she was violently thrown into the hereafter–joined her killer in the actualization of the practices serving to rationalize her own murder.

In terms of sacrifice, it’s obvious that Arthur makes a sure human sacrifice, forcing his victim to part with the remainder of her life. In addition, Arthur comes to sacrifice the reality of all possible affectionate relationships which the victim may have had with whomever, including with the murderer. As such, Arthur is directly responsible for causing all the grief and pain which the violent death of Penny invokes. 

In terms of conscience, needless to say, Arthur’s murder of Penny is hard to explain in terms of authentic conscience; but since he has turned his back on his authentic self, he likewise turned his back on his authentic conscience. Instead, an inauthentic Arthur would naturally be guided by his inauthentic conscience, one that in this particular case is connected to a practice of power-seeking. By snuffing out the life of Penny, he shows to use punitive (redemptory) power to shame to literal death the one person in his life whom he holds responsible for having caused so much (retrospective) pain and sorrow and indeed shame. |25.1)


26.Killing Randall at home

A remarkably upbeat-appearing Arthur is busy preparing for his pending appearance on the Murray Franklin Show by rehearsing his entrance based on inspiring previously-broadcast video recordings of the show. He has dressed up fairly smartly for the occasion: white dress shirt and bordeaux-red waistcoat on, pants to go with the waistcoat, hair slicked back like the best-dressed one of the three killed Wall Street guys. Arthur carefully studies the demeanor of the guests, how they carry themselves, how they present themselves, and then goes out of his way to imitate them.

When–as part of his routine–he practices an imaginary dialogue with Murray, however, and offers to tell a joke to the imaginary host together with his imaginary audience, to the eager imaginary anticipation of them (of which their imaginary yet notable auditory enthusiasm seems but an eerily seamless carry-over from the actual recordings he his studying), he goes to make a most rudimentary of knock-knock jokes merely consisting of him pulling out his .38 and simulating shooting himself through the head — to which, arguably most disconcerting, his imaginary audience then breaks out in laughter and applause, having a necessarily sadistic ring to it.

Could this be an indication that Arthur expects his audience to as of now by default be sadistically stacked against him? — a notion which seems perfectly consistent with the way he showed to feel treated by Murray on air: that people as of then would see his face, the face he showed at the gogo’s Comedy Club (free from camouflaging clown make-up), and only respond by erupting in crushing ridiculing laughter, his greatest deflationary Narcissistic nightmare. And so, while serving a dedicated thematic practice of Shame-avoiding Self-idolatry, serving the deemed paramount broad goal of avoiding any hint of shame that could possibly be brought down upon his person – consistently presenting himself as someone deserving no personal blame – free of personal flaws whatsoever, what else could he do but cover up his real face? — what he now implies to fear is his real and authentic yet shame-soiled naked face.

That next day, the big day of his appearance on the Murray Franklin Show, he first dyes his hair green, resembling the color of his old clown wig — only this time of a deeper, darker shade. Seeing that it is good, commanding a suspiciously celebratory mood, he dances around–wearing only his knickers–to the enchanting tune of Frank Sinatra’s classic called That’s Life. Sitting at his mother’s dresser in front of her vanity now; applying white grease paint to his face with a paintbrush, sure to also give his tongue a few swipes for good measure; after crumbling–with a thoroughly contemptuous look on his face–an old picture of his happily-smiling counterfeit mother (thus symbolically destroying all of his [happy] memories of her), the doorbell rings. He grabs a pair of scissors from a small drawer, stands up and goes to answer the door.

Arthur unlocks the locks, keeping the security chain latched, and cracks open the door,– Sees Randall. Looks down, and sees Gary next to him. Undoes the chain and opens the door for them– Randall and Gary get a look at Arthur’s face, his dyed green hair still wet, streaking white grease-paint smeared over his face.
Gary: Hey Arthur, how’s it going?
Arthur: Oh hey guys. Come on in.
Gary: You get a new gig?
Arthur: No.
Arthur shakes his head no, steps aside so they can come in, palming the scissors in his hand–
Randall: You must be goin’ down to that rally at City Hall. I hear it’s gonna be nuts.
Arthur: Oh, is that today?
Randall looks at him and laughs–
Randall: Yeah. What’s with all the make-up then?
Arthur shuts the door behind them. Locks the chain-lock.
Arthur: (dryly) My mom died. I’m celebrating.
Randall: (unperturbed) Right, we heard. That’s why we came by, figured you could use some cheering up.
Arthur stares at Randall.
Arthur: Oh, that’s sweet. But no, I feel good. I stopped taking my medication. I feel a lot better now.
Randall: Oh, okay. Well, good for you. (sighs) Listen, I don’t know if you heard, but the cops have been coming around the shop– talking to all the guys about those subway murders. And um–
Gary: (interrupting) They didn’t talk to me.
Randall: (enlightening) That’s because the suspect was a regular-sized person. If it was a fucking midget, you’d be in jail right now.
Arthur shoots his idiosyncratic artificial laugh, heavy on the sneer side this time, and arguably even heavier on the eerie sort of ominous type of side.
Randall: (back to Arthur, sincere) Anyway, Hoyt said they talked to you and now they’re looking for me, and I just wanna know what you said. Make sure our stories line up, seeing us how you’re my boy, and you know what I mean?
Arthur: Yeah, that makes a lot of sense. Thank you, Randall. Thank you so much–

In a perfectly-executed predatory flowing action, Arthur leaps forward to Randall and–like a hungry vampire eagerly jumping its helpless prey–with overwhelming force thrusts the pair of scissors as deep as he can into the unsuspecting and unguarded neck of the perfidious other professional prankster. Blood spurts. Randall screams. Arthur pulls them out and jams them into Randall’s eye before he can react. The sound is sickening. Gary’s screaming in the background–Randall blindly fights back, screaming in pain, flailing his arms, his own blood blinding him–Arthur grabs Randall by the head — all of his pent up rage and frustration pouring out of him — and slams his head against the wall. Again. And again. And again. Arthur lets go of Randall’s head and Randall drops to the ground. Arthur leans back against the wall, out of breath, kind of slides down the wall to the floor–(26.1)

After having caught his breath and calmed the fuck down, he directs his attention to a Gary as paralyzed by shock as ever, huddled in the corner, trembling with fear–“. In the sort of tone which already signals a completely detached emotional involvement with the nevertheless very real murder he just committed, an apparently utterly relievedrelaxed and disarmed Arthur nonchalantly changes the channel by asking the now unmistakably immiserated mini man, Do you watch the Murray Franklin Show? I’m gonna be on tonight. . . It fucking crazy innit? — me on the telly.

Gary does not move or respond, however, which causes Arthur–in a fit of compassion (a clear 180 with respect to his revealed razor-sharp attitude vis-a-vis Randall)–to assure the other, It’s okay, Gary. You can go. . . I’m not going to hurt you.When a still-wailing shook-up Gary tentatively tries to walk passed the other in order to get to the door, the grand portal of liberation, a suspiciously sprightly Arthur can’t resist the temptation to frighten the poor midget by suddenly yet playfully sticking out his hand in the other’s direction while screaming,Waah!, as if scaring–yet in a good-naturedly condescending way–an apprehensive little toddler. But when the jumpy dwarf does reach the door, he finds himself unable to exit because the locked chain lock is set too high; and so the abashed bantam bugger sees himself forced to call in the help of the former clown colleague barely-finished brutally assassinating a mutual clown colleague. Full of understanding, Arthur gets up, walks over to the door, but before opening it and watching the skittery pygmy being sure to take off in a hurry, endearingly leans over to kiss him on the forehead, adding the comforting words that the man of short stature would be the only one out there who was ever nice to his crazy-cracker clown-killing colleague.

Am I the only one who found it remarkable that when Arthur dryly confessed to be celebrating his mother’s death, that neither Gary or Randall found such admission something inherently worrisome and worthy of a follow-up inquiry from their end? Neither of the two clown visitors seemingly batted an eye from their host’s offhanded admission that indicated at the very least a suspicious lack of affect for his mother. Indeed, Randall only showed complete ignorance to that effect when he uttered the sort of casual response which leads one to believe that he was partial to the exact opposite picture that Arthur showed to promote of himself, that the killer clown would precisely be in mourning over his mother — indicating that at least Randall either was not, or did not want to be, open to the possibility of Arthur developing a bit of a corrupt soul.

The exchange is reminiscent of a scene of another classic, American Psycho, in which the main character of the movie, Patrick Bateman–while impersonating one of his colleagues, Marcus Halberstram–is having dinner with another one of his colleagues, Paul Allen. At one point Patrick makes the rather meaningful confession to have a liking for dissecting girls and that he would be utterly insane to boot; making his giddy and intoxicated dinner partner only respond in a completely detached fashion: first complimenting the other for his tan, mentioning something about having a tanning bed at home himself and that furthermore “Marcus” should look into it.

Both scenes feature characters displaying phenomenal superficiality in manners and ditto shallow social involvement, as if they all have raised to virtual godhood status that either – what the people they are with would be doing is categorically none of their business; or, alternatively – that their companions do not deserve to be taken seriously (at all), that they are only constantly goofing around, constantly trying to make fun of everything and everyone; and so even when red flags are shooting up like no tomorrow, this genial yet shallow social courtesy and etiquette religiously professed by them, shall be abandoned only when hell freezes over.

However, and this only recently fully dawned on me, it may be entirely possible that Arthur is not the only one having something to hide. After all, Randall’s self-confessed motive for coming over to Arthur’s place included a desire to make sure their stories line up. If you always speak the truth, then whyever should you worry about making sure your own story lines up with those of other people? Randall already showed a willingness to lie in order to avoid getting caught doing something naughty (voluntarily supplying Arthur with a gun). If he indeed has something to hide himself, Randall might then be inclined to gloss over Arthur possibly also having something to hide, if for no other reason than that Randall would most of all be worried about himself, chiefly concerned with making sure his own ass is covered (thoroughly and before all else).

26.1 In terms of idolatry . . .

(26.1| By killing Randall, Arthur avenges himself for having been betrayed and lied about by someone who nevertheless had no apparent problems going around pretending to be his friend, his boy. After all, thanks in large part to Randall, Arthur lost his job over at Ha-Ha’s: Randall provided him with the gun that got him fired and then–in front of their mutual colleagues as well as their boss–went to boldly deny having supplied him with it. It is also thanks to Randall that Arthur was able to “defend” himself by killing the three Wall Street guys and, as such, in indirect yet significant practical fashion enabled his transformation into his evil clown alter-ego — which is rapidly hurtling down the way to frightening and full manifestation. And so, since there was no credible motive for self-defense, even though it was clearly wrong for him to kill Randall, the latter did owe it to himself in part, since he let the other clown down while nevertheless having a clear facilitating hand in Arthur committing the series of serious moral infractions which he did and which are transforming him into the make-up wearing monster he is quickly turning into.

Arthur’s brutal murder of Randall may be captured by the following script:

i. Physical Abuse of the Body kind: Level = grievous Moral Crime; Perp = Arthur; Victim = Randall; Audience = Arthur&Randall&Gary;

1. Incoming-stage: Arthur incurs authentic guilt toward Randall for stabbing him in the neck with a pair of scissors, stabbing him in the eye with a pair of scissors, and slamming his head to a wall repetitively until death set in;

2. Scene of Immorality-stage: Arthur initiates a potential practice of Concrete PrimePidol-targeted…
{+} Arthur-idolatry: Superior by Bodily Abusing Randall/ in front of Audience/ – Using Name&Body/;
{} Arthur-idolatry: Inferior by Being Used in Name&Body/ by Arthur/ Bodily Abusing Randall/ in front of Audience/;
{} Randall-idolatry: Inferior by Getting Bodily Abused by Arthur/ in front of Audience/ – Using Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience, audially to self;

3. Rationalization-stage: Arthur initiates an implicit potential practice of Abstract…
{+} Arthur-idolatry: Righteous and Entitled to Bodily Abuse Randall/ in front of Audience/ – Using Name&Body/;
{} Arthur-idolatry: Unrighteous and Deserving to be Used in Name&Body/ by Arthur/ Bodily Abusing Randall/ in front of Audience/;
{} Randall-idolatry: Unrighteous and Deserving to be Bodily Abused by Arthur/ in front of Audience/ – Using Name&Body/;
Abstract Pidols are disseminated over Audience;

In summary, qualitatively, Arthur incurs authentic guilt toward all involved in his Bodily Abuse — Gary, but more so toward Randall and especially toward Arthur himself;

4. In terms of sacrifice, Arthur again makes a sure human sacrifice, forcing his victim to part with the remainder of his life, making him sacrifice what otherwise would have remained of his time and stay on this plane of existence, while still being able to enjoy disposing over his physical vessel called body during the since-expired current one of his virtually-infinitely-long string of consecutively-lived lifetimes. In addition, Arthur comes to sacrifice the reality of all possible affectionate relationships which the victim may have had with whomever, including with the murderer — if superficially so. As such, Arthur is directly responsible for causing all the grief and pain issuing forth from the premature and violent death of Randall. 

The same set of questions pertaining to Penny in the final stage of her life, also apply to Randall. What will be going through his mind, as he is suddenly plunged into a death struggle? Will he be wondering why Arthur is trying to kill him? One question that will probably not be on his mind, due to not being a Hindu or Buddhist, one that is still very relevant from an existential vantage point, is: How will such a violent ending affect the victim’s next life? If he will experience hardship due to it in his next life, then Arthur is responsible for this too, although the blame is shared with Randall himself for facilitating Arthur’s murder of him.

In terms of conscience and actualization, the same applies as with Penny’s murder; his growing hatred together with his progressive identification with his toxic inauthentic alter-ego, stands to blind him ever more from seeing that what he is doing is wrong. His actions defy explanation relative to his dwindling authentic conscience; but make a whole lot more sense relative to his inauthentic conscience connected to Power-seeking Self-idolatry. As such, as a perpetual victim seeing himself entitled to pursue perpetual redemption drenched in blood, Arthur is expected to have no trouble actualizing his own practices. |26.1)


27.Completion of transformation into Joker

Late in the afternoon, Arthur leaves his apartment and steps into the elevator. His transformation into Joker is complete in every which way. Green hair slicked back like one of the Wall Street assholes he killed . . . White grease paint smeared over his face… red nose painted on. . . blue peaks over and under his eyes. . .; his mother’s red lipstick crudely outlining an asymmetrical and grotesque sort of smile, obviously symbolizing a crooked smile (belonging to a crooked man, or better yet, a gritty man determined to get even). . . Under the harsh flickering fluorescent lights, he looks like an insane version of his mask.

Now joyfully dancing his way down the usual long street-side staircase, without a seeming care in the world, doing his own Bill ‘Bojangles’ Robinson stair dance to music which only he can hear — that being the instrumental version of Gary Glitter’s song called Rock & Roll. When nearing the bottom of the stairs, however, he suddenly hears his name being cried out. Detectives Burke and Garrity are standing at the top of the stairs, communicating–in necessarily shouting manner–wanting to have a word with him.

In spite of his–nevertheless, on the whole, probably effectively misdirecting–clownish disguise, he is being recognized by the one type of people–those representing the law–he has every reason of wanting to avoid. One of his biggest fears would be, of course, that the detectives had checked with his former employer as to the grounds for his employee’s dismissal; and came to the conclusion that the clown had been lying to them — if so, then his possession of a gun has become all the more suspicious, easily going on to be incriminating.

In addition, it doesn’t help that his apartment is now storing one dead Randall, a rather meaty sort of corpse that may be expected to begin developing an ever more pungent smell in a mere few hours time. Likewise, it’s of little help when it comes to maintaining peace of mind, that there now is on the loose a live witness to Randall’s brutal assassination in the form of a midget clown; one who probably can’t help himself from sooner-rather-than-later spilling the–for the killer clown–decidedly unpleasant sort of beans in front of whomever. Also his mother’s sudden demise over at the hospital, might just threaten to start ringing some bells, not least because Arthur had carelessly let Randall and Gary know to not just not be in mourning over Penny’s death but to even be in a celebratory mood. In other words, there were enough compelling reasons for him to now dread confrontations with any and all representatives of the law.

Suddenly jolted back to reality from his diverting trip into blissful musical fantasy, a startled Arthur leaps down the staircase and sets it to a mad running — making the two detectives readily give chase. But by running away from the detectives (like his hair is on fire), he leaves no doubt as to having something fishy – something funny – to hide; and so–unless he could conjure up, out of thin air, some credible excuse for his manifested suspiciously-evasive behavior–once he started running, he knew he had stepped over the point of no return — thus automatically, in his mind, redefining the detectives as his practical enemies, which begs to come down to him reinterpreting their relationship along a worsening sadistic (predatory) direction: and so now, what’s bad for the detectives, has become good for him.

At breakneck speed dashing headlong down the streets littered with piles of garbage bags scattered to the sides everywhere, crashing into an entirely unforeseen approaching cab daring to cross his path, making him tumble and roll down the street; lucky to have broken no bones, Arthur can then be seen rushing up the stairs of a local subway station; the two detectives–refusing to let go of their slippery potential interrogee–not far in his wake. He bolts into a train filled to the brim with protesters heading down-town to City Hall, many of them wearing clown masks. The passionately shouting two detectives manage to also jump onboard right before the doors close — and the train takes off.

Joker moves through the loud train pushing through the rowdy protesters“, “into the next car, all of them packed. Joker glances back at Burke and Garrity pulling out their badges on chains around their necks. Smith & Wesson service
revolvers by their sides. Shouting at the crowd, identifying themselves as cops. Joker hears some on the train shouting back in anger at the police, keeps moving…” “The two cops push through the car, scanning all the ‘clown’ faces… So many look like Joker. They just shove protesters out of the way, shouting at them all the while. A few more voices rising up in protest– Joker feels Burke and Garrity behind him getting closer.

In a further attempt to enhance his already conveniently camouflaging disguise, Joker eagerly grabs the mask off of the face of some random stranger standing nearby. The suddenly slighted sport responds sharpishly by pushing Arthur into someone else, the latter whom–in a reflexive fit of poorly-placed vindictiveness–comes back swinging at the sport pushing Joker. It turns out to be the spark that ignites the whole volatile powder keg that has assembled inside of the train, in jittery jumpy human form. While a cheeky Joker gets to safely put on the mask he just nipped, the fight he helped erupt between the two guys rapidly spills over into a brawl that soon has the whole fucking train descend into a violent state of all out chaos, a development he is gratefully able to exploit as it obviously serves as a potent distraction from his own ominous presence, his by implication already indicated not entirely innocent presence.

The two detectives all-of-a-sudden find themselves getting plunged into an increasingly hostile environment, and when one of them accidentally discharges his side-arm during a hapless struggle with one of the protesters, fatally wounding him, all hell breaks loose; and the two officers of the law end up–courtesy of a now insanely furious crowd–virtually being vomited out of the train unto an arrival platform of the next station; where they virtually are lynched on the spot, all while a sadistically laughing Joker, witnessing with shuddery-suspicious satisfaction all of this near-fatal carnage play out right in front of his dubiously dolled-up nose, manages to get away entirely scot-free.

The capricious crowd of crooked clowns, by conveniently taking care of his newfound two enemies, thus ended up effectively and spontaneously proving to be Joker’s allies; tacitly and not-yet-consciously solidifying in a now practical and actualized sense the bonding between himthe pending Cutthroat Clown Commanderand themthe abrasive and radical band of loosely-affiliated clownish protesters; a type of camaraderie which, until that point in time, had been purely philosophical and abstract.

27.1 Joker the tragic clown and the agent provocateur alternative reality

In a symbolically meaningful shot, Joker can then be seen walking down an underground subway corridor, away from the scene of unrest, while police officers rush by in opposing direction — tasked with trying to restore order and quell the type of unrest which Joker sparked into being. He strides with a confident swagger, determined, looking calm and collected while casually smoking a cigarette; and yet you can also see that underneath one of his eyes, his make-up is streaking, leaving a blue vertical mark on his face; thus showing that–unless it was supposed to be due to sweating–the tragic clown also had shed at least one tear (somewhere along the way from home). Joker is still human after all.

This anecdote about the explosive development in the train may count as a metaphor for the type of real-life scenario in which toxic people show to be able to thrive in a toxic environment; as their own toxic actions stand to escape detection by being drowned out by a toxic attention-misdirecting background — one that, in the particular context of this scene from Joker, is made up of an obscuring camouflaging crowd in which the toxicity manifests as raw brawling violence.

I suppose that’s why people with psychopathic tendencies are able to thrive best in an otherwise unhealthy type of environment at which their psychopathic qualities are not recognized as indeed psychopathic; but–indeed–may rather well found to precisely be: (((badass))) and (((heroic))) — essential traits even, all deemed particularly useful and empowering when it comes to weathering the proverbial storm, whatever dreadful storm of life that may be.

Note also that Wayne himself–in this opportunistic respect–is not a whole lot different from Joker, as he too was able to begin exploiting the chaos ensuing from the triple-murder subway tragedy. For without such a sumptuous crisis, he would not be able to point the finger of accusation at the killer and the allegedly troublesome broad community of poor people allegedly supporting the killer on first principle basis — due to merely being one of their own, a fellow poor “clown”. Wayne and Joker both show to be able to thrive in a toxic background, whether of a political or environmental nature.

Even though they are depicted as mutually antagonistic and philosophical enemies of one another, since they both benefit from the same political reality, Gotham in flames, they might as well not have been. Indeed, what if Arthur and Wayne secretly were allies? It would not be such a stretch to imagine an alternative reality in which Wayne, for example, would already be the established mayor of Gotham; but because of the ambitious authoritarian he would be, wants to transform his city into a new version in which he only stands to have more tight political control, more power, as in a kind of police state. However, let’s say that he would be unlikely to just go and willy-nilly increase police presence on the streets without drawing criticism from his political enemies as well as the people. He needs to have a just cause, or at least the kind of cause which appears just (at first glance). And this is where controlled enemies show their virtue.

What if he would have a clearly identifiable reason to point the finger of blame to? — a reason in the form of a powerful villain wreaking havoc in the city, the sort of villain who nevertheless would secretly be in ultimate cahoots with him. By having a Joker running around causing proverbial fires everywhere, Wayne will be presented on a silver platter with excellent excuses to play that proverbial fireman by sending to the streets however many “firemen” deemed necessary to put out those fires.

This wouldn’t be such a wild scenario to entertain, all-the-more-so if Arthur would really be related to Wayne by blood, by being Wayne’s secret bastard son in actual fact. He’s already in disguise, and could therefore easily serve in the capacity of being Wayne’s paper enemy.

And when his job his done, when Gotham has been thoroughly transformed into a police state by way this stealthy dialectical process playing out in a crime-political back-and-forth problem-reaction-solution kind of context, he could easily retire by simply removing his disguising make-up, undergo some cosmetic surgery if need be, and likewise if need be live out the rest of his life in guaranteed peace at some remote out-of-sight place, like one of those cute little exotic islands where nobody knows him (his name), no-one could bother him, let alone recognize him for having played his part in a protracted false flag operation type of deal, having acted under secret alliance with what had been his official enemy, like some sort of agent provocateur.

What a trippy sort of alternative reality that would be, would it not? (likewise movie material, peut-être?)

28.i Final Showdown with Murray Franklin — The dress-room

Joker has found his way into a dressing room of the Franklin Theater down-town Gotham, sitting all by himself at a long dressing table in front of a large professional vanity, having cleaned himself up, make-up redone, smoking a cigarette while watching the news on TV; which just so happens to detail what in actual fact are–to large but not exclusive extent–the fruits of his own villainous labor: the chaos he ignited in the train on his way over, leading to a shooting incident causing a virtual lynching party at the expense of two police detectives; precipitating only a further escalation of the broad and diffuse system-hating societal chaos now gripping the heart of the city by the balls (which he, incidentally, also sparked into being by killing those three Wall Street guys); consequently violently pouring over into the current City Hall rally; at which currently can be seen, on television, serious ongoing clashes with assembled police forces desperately trying to either maintain or restore order.

Someone knocks on the door and Murray and his producer Gene open the dressing room– Joker gets up off the chair and goes to shake Murray’s hand. Murray pauses when he sees Joker’s face.
Arthur Joker: (shakes Murray’s hand; effusively) Murray,–
Gene Ufland: It’s Mr. Franklin, buddy.
Murray Franklin: Oh come on, Gene. That’s all bullshit.
Arthur Joker: Thank you, Murray. I feel like I know you,– I’ve been watching you forever.
Murray nods not listening, he’s heard this before.
Murray Franklin: Thank you. . . What’s with the face? Are you part of the protests?
Arthur Joker: (disingenuous; feigning innocence) No, I don’t believe in any of that. I don’t believe in anything. I just thought it would be good for my act.(28.1.i)
Gene Ufland: (upset) Your act? Didn’t you hear what happened on the subway? Some clown got killed.
Joker looks like he’s about to bust out laughing. All of that news is playing out on the TV behind him. He takes a deep breath. Swallows the laugh.
Arthur Joker: (lying through teeth) No. I hadn’t heard. (28.1.ii)
Gene Ufland: (turns to Murray) See, this is what I’m telling you. The audience is gonna go crazy if you put this guy on. Maybe for a bit, but not a whole segment.
Murray Franklin: Gene. It’s gonna work. It’s gonna work. We’re gonna go with it.
Gene rubs his temples, he doesn’t like this, but Murray is the boss.
Arthur Joker: (laughs appreciatively) Thank you, Murray.
Murray Franklin: (flashes his bemused smile; condescending) Couple rules though,– No cursing, no off-color material, we do a clean show, okay?
Arthur Joker: (cracks half-a-smile) Uh-huh.
Murray Franklin: You’ll be on after Dr. Sally.
Arthur Joker: I love Dr. Sally.
Murray Franklin: Good. Someone will come and get you. Okay?
Arthur Joker: Thanks Murray.
Murray is already walking away when Joker calls out.
Arthur Joker: Hey Murray,– one small thing? When you bring me out, can you introduce me as ‘Joker’?
Murray and Gene look back at him
Gene Ufland: What’s wrong with your real name?
Arthur Joker: (to Murray) That’s what you called me on the show, Murray. A joker. D’you Remember?
Murray Franklin: (to Gene) Did I?
Gene Ufland: I have no idea.
Murray Franklin: (turns back to Joker) Well, if you say so, kid. Joker it is. It’s good.

Gene and Murray leave a content-looking Arthur in the dressing-room. He turns toward the large vanity that in red lipstick letters has written his perennial propagandistic slogan, drilled into him by his full-blown counterfeit mother: Put On a HAPPY FACE — and which, almost by necessity, has since attained a full-blown counterfeit ring to it, a cynical and sadistically-ridiculing ring instead of an authentic and innocently-sincere one. Joker sits down on a chair in front of the vanity, pulls out his gun, holds it under his chin, with the muzzle touching the underside of his kisser, a dull metallic sound follows, resembling the trigger being pulled — no blast though, nothing, no rounds inside. . . yet.

A moment later, we can see Joker standing and waiting behind the stage curtain for his cue to come on. He is smoking a cigarette while listening intently, if spitefully, to what Murray has to say leading up to the vindictive clown’s introduction unto the stage. And sure enough, Murray once again goes to make fun of Arthur, resorting to a cheap gossipy kind — with Dr Sally asking Murray if their pending guest happens to have sexual problems, only to inspire an impertinent Murray to answer with that the younger clown seemingly has a lot of problems; and once again Murray has Arthur’s fateful clip played on the show — thus making sure that in the mind of the image-anxious clown, showing his natural face all out in the open, especially on the televised show for all to see, has now become even more of an impossibility.

All the while that his video is being played – followed by Murray’s introduction of him, Joker seems busy mentally preparing himself, trying to get into character–if of a most ominous kind–through moving in the same meditatively cathartic way as he did the other night in that public bathroom right after killing those three Wall Street guys — an exercise of the mind which seems to have its merits, as he already had shown to himself to come out of it radiating unusual self-confidence and remarkable fortitude of will.

28.i.1 In terms of idolatry . . .

What’s with the face?

As already argued, for the sake of shame-avoidance, Arthur implies to fear being shamed while going around showing his real natural face. Since he is a party clown by profession, it was only a most natural choice for him to go and disguise as one, to assume an alter-ego based on a clown-like disguise. Arthur’s answer to Murray’s question clearly is drenched in deception. Technically it was true that he was not yet part of the protests in actual sense, and yet at the same time, philosophically – ideologically he was; having acted as one of their great original catalysts by killing those three Wall Street guys. Indeed, in a metaphoric way, Arthur had ignited the fire of communal destabilization now threatening to consume (down-town) Gotham — while cheeky old Wayne, self-righteous and conceited Thomas Wayne, the other great catalyst, was standing there right beside him, sure to fan the flames into catastrophic heights.

(28.1| By presenting himself in front of Gene and Murray in a purposefully disingenuous fashion as someone who were to believe in nothing, not being somehow connected to and involved with the protests at all, someone who in a fit of pure angelic innocence decided to wear clown make-up and a fitting loud-colored suit just for the hell of it, Arthur is presenting to everyone present a crafted image-impression of himself (self-elevating in a sanctifying way) which obviously is at odds with the sobering and demystifying truth as to his person (one that’s steeped top-to-bottom in instrumental deception fueled by a passionate yearning for revenge).

The cunning clown may therefore be said to float a little deception using especially his body, conveniently dolled-up for the occasion — generating the following truncated script: 

i. Psychic Abuse of the Deceptive kind: Level = Moral Error; Perp = Arthur; Victim = Arthur; Audience = Arthur&Murray&Gene;

1. Incoming-stage: Arthur initiates a potential practice of Abstract…
{+}Arthur-idolatry:[X] Do not believe in the protests, [X] don’t believe in anything; [X] dressed up as a clown thinking it was good for his act; [X] hadn’t heard some clown got killed on the subway;
Abstract Arthur-Pidol is distributed over Audience;

2. Scene of Immorality-stage: Arthur initiates a potential practice of Concrete PrimePidol-targeted…
{+} Arthur-idolatry: Superior by Lying to Audience/ about Arthur/ – Using Verbality&Name&Body/;
{} Audience-idolatry: Inferior by Being Lied to by Arthur/ Lying about Arthur/ – Using Verbality&Name&Body/;
{} Arthur-idolatry: Inferior by Being Lied about by Arthur/ Lying to Audience/ – Using Verbality&Name&Body/;
{} Arthur-idolatry: Inferior by Being Used in Verbality&Name&Body/ by Arthur/ to Lie to Audience/ about Arthur/;
Each exposes PrimePidol audiovisually to the others of Audience, and audially to self;

3. Rationalization-stage: Arthur initiates an implicit potential practice of Abstract…
{+} Arthur-idolatry: Righteous and Entitled to Lie to Audience/ about Arthur/ – Using Verbality&Name&Body/;
{} Audience-idolatry: Unrighteous and Deserving to be Lied to by Arthur/ Lying about Arthur/ – Using Verbality&Name&Body/;
{} Arthur-idolatry: Unrighteous and Deserving to be Lied about by Arthur/ Lying to Audience/ – Using Verbality&Name&Body/;
{} Arthur-idolatry: Unrighteous and Deserving to be Used in Verbality&Name&Body/ by Arthur/ to Lie to Audience/ about Arthur/;
Abstract Pidols are disseminated over Audience;

In summary, qualitatively, Arthur incurs authentic guilt toward everyone whom he involves in his deception — Gene, Murray and especially toward Arthur himself; |28.1)

28.ii Final Showdown with Murray Franklin — The pièce de résistance

Murray: Okay, you may have seen that clip of our next guest. Now before he comes out, I just wanna say, that we’re all heart-broken about what’s going on in the city tonight, but this is how he wanted to come out and honestly I think we could all use a good laugh. So please welcome, Joker!
Carried aloft by the show’s live jazz orchestra, Joker comes on surprisingly stylish and remarkably sure of himself, making two little flawlessly-executed pirouettes as he goes, genially shaking Murray’s hand, walking over to Dr Sally and unabashedly nearly knocks her off of her little feet by kissing her right on the mouth. With the audience–subtly encouraged by the host–laughing either good-naturedly, mockingly or somewhere in between, after for a moment standing there in the middle of the desk-portion of the stage, sure to savor and appraise the novel sort of scenery in which he takes sudden center stage, the honorable guest of the hour seats himself on the chair next to Murray’s desk.
Murray: Well, that was quite an entrance. (insincerely; checks out his guest) You okay?
Joker: (glances at the studio audience; awkward) Yeah. This is exactly how I imagined it.
Murray: Well, that makes one of us.
The audience laughs.
Murray: Can you tell us about this look. When we spoke earlier, you mentioned that this look is not a political statement. Is that right?
Joker: (insincere) That’s right, Murray. I’m not political. Imma just tryna make people laugh.
Murray: (smiles) And how’s that goin’ for ya?
The studio audience laughs again. Joker responds by shooting his quintessential artificial laugh with a touch of hysteria on top of an arguably greater dose of retaliatory ridicule (which already hints at an anticipation to get to enjoy the audience swallowing their own ridiculous ridicule, . . . soon).
Murray Franklin: (trying not to laugh) I know you’re a comedian. Have you been working on any new material? You wanna tell us a joke?
The audience claps, egging Joker on to tell a joke.
Joker: (obliging) Yeah? Okay.
Joker reaches into his jacket pocket and– Pulls out his worn notebook.
Murray: (mockingly) He’s got a book. A book of jokes.
The audience cracks up yet again. Arthur leisurely studies his book until he comes across a suitable joke, or what he thinks is suitable anyway.
Murray: (mockingly) Take your time. We got all night.
The audience laughs once more.
Joker: (reading) Okay, okay. Here’s one. . . Knock-knock.
Murray: (mockingly) And you had to look that up?
Studio audience laughs and applauds.
Joker: (nods; reads it again) I want to get it right. . .(take two)Knock knock.
Murray makes a face like, “Okay, I’ll go along with this.”
Murray: Who’s there?
Joker looks up from his notebook– Sees the audience looking back at him, waiting for the punchline. Decides to finish the joke–
Joker: It’s the police, ma’am. Your son has been hit by a drunk driver. He’s dead.
Arthur chuckles at his own joke, but the audience releases an indignant groan to the ventilation of the sort of joke that could only be found amusing in a Schadenfreude type of sadistic sense.
Dr. Sally Friedman: (eager)Oh, no, no,– You can not joke about that.
Murray: (shakes his head; irritated) Yeah, that’s not funny, Arthur. That’s not the kind of humor we do on this show.
Murray glances over at Gene in the wings. He gives him the “wrap it up” sign.
Joker: (just keeps going, on a roll) Okay, yeah, I’m Sorry. It’s just, you know, it’s been a rough few weeks, Murray. (laughs; pause) Ever since I (looks around in no specific direction) killed those three Wall Street guys.
The audience can’t tell if he’s joking or not. Murray can’t either.
Murray: (looks at him confused) Okay. I’m waiting for the punchline.
Joker: (sober and solemn) There is no punchline. It’s not a joke.
Gene Ufland motions for Murray to kill the interview. Murray shakes his head to himself. This is a big “get,” it could be great television.
Murray: (turns back to Joker; with gravitas) You’re serious, aren’t you? You’re telling us you killed those three young men on the subway. Why should we believe you?
Joker: (shrugs) I got nothing left to lose. Nothing can hurt me anymore.(chuckles to himself)My life is nothing but a comedy.
Murray: Let me get this straight, you think killing those guys is funny?
Joker: (sincere) I do. And I’m tired of pretending it’s not. Comedy is subjective, Murray. Isn’t that what they say? All of you, the system that knows so much, you decide what’s right or wrong, the same way that you decide what’s funny, or not.
Murray: Okay, I think, I might understand that you did this to start a movement, to become a symbol.
Joker: C’mon, Murray, do I look like the kind of clown that could start a movement? I killed those guys because they were awful. Everybody is awful these days. It’s enough to make anyone crazy.(28.2.i)
Murray: Okay. So that’s it, you’re crazy. That’s your defense for killing three young men?
Joker: (joking cynically) No. They couldn’t carry a tune to save their lives.
Some audible groans and boohs from the audience.
Joker: (disgusted) Oh, why is everyone so upset about these guys? If it was me dying on the sidewalk, you’d walk right over me. I pass you every day and you dont notice me. But these guys, well because Thomas Wayne went and cried about them on TV?(28.2.ii)
Murray: You have a problem with Thomas Wayne, too?
Joker: (rising inner fire of fury) Yes. I do. Have you seen what it’s like out there, Murray? Do you ever actually leave the studio? Everybody just yells and screams at each other! Nobody’s civil anymore! Nobody thinks what it’s like to be the other guy. You think men like Thomas Wayne ever think what it’s like to be someone like me? To be somebody but themselves, they don’t. They think that we’ll just sit there and take it like good little boys! That we won’t werewolf and go wild!!(28.2.iii)
Murray: (sober and unperturbed) You finished? I mean, there’s so much self-pity, Arthur. You sound like you’re making excuses for killing those young men. Not everybody, and I’ll tell you this, not everyone is awful.
Joker: (vindictive and determined) You’re awful, Murray.(28.2.iv)
Murray: (innocence personified) Me? I’m awful? Oh yeah? How am I awful?
Joker: (gritting through teeth) Playing my video, inviting me on the show,–(spiteful and accusatory)You just wanted to make fun of me. You’re just like the rest of them.
Murray: (on the spot; defensive) You don’t know the first thing about me, pal. Look what happened because of what you did, what it led to. There are riots out there–” (28.3.i)
Joker demonstrably holds up his hand, lightens up, smiles and starts to laugh — as if to say, yep you got me there alright, guilty as charged, mea culpa.
Murray:–Two policemen are in critical condition, and you’re laughing, you’re laughing. Someone was killed today because of what you did.(28.3.ii)
Joker: I know. . . How about another joke, Murray?
Murray: No, I think we’ve had enough of your jokes–
Joker: (ominous and menacing) What do you get when you cross a mentally-ill loner with a society that abandoned him and treats him like trash?!!
Murray: (cocksure; to Gene) Call the police, Gene.
Joker: (boiling point) I’ll tell you what you get. You get what you fucking deserve!!

In one unhesitant fluid motion, Joker pulls out his .38, points it at Murray’s head, pulls the trigger and executes his former idol right on the bloody spot, right on his own miserable fucking show. (28.4) As Murray’s fatally-wounded recoiling body slams head-first to the back of his chair, big fat blood-and-brain-matter spatters splatter all over the logo-carrying wall behind him — a few end up spraying Joker’s own face. The audience panics and erupts in terrified screaming. Dr. Sally turns toward Barry O’Donnell (the announcer guy sitting next to her), who reaches over and shield her with his arms.

Joker remains seated initially, since entered into a state of exuberance and exhilaration, psyched up by blood-lust, amped up to the max, laughing in apparent suspiciously-carefree amusement even though–if you look carefully–tears are welling up in his eyes as well (as if he, somewhere deep down inside is still hanging on to his humanity, being perhaps a wee bit sorry for having had to kill the one person, his surrogate father figure, he used to idolize; and furthermore also realizing that he now has burned all of his goddam bridges — there’s no going back anymore, the bloody cat is out of the televised bag).

Joker stands up, shoots one more round into Murray’s already expired body for good measure, casually drops the gun on his late former hero’s desk, makes a triumphant little dance, hops–like a careless kid having innocent fun–over to the nearest camera trained on the scene, grabs it by the handles using both hands, stares straight into the lens and declares in perfectly manic evil-clown-like voice, Good night, and always remember, that’s life!” — thus making the transmission end abruptly.

28.ii.1 The meaning of killing Murray on his own live show

By killing Murray, Arthur exacts revenge for–what he sadly seems convinced are–the former idol his perfectly effective and successful efforts to devastate, destroy from top to bottom, the clown’s prospects of becoming a professional stand-up comic; sanguine vengeance for having suffered what he implies to feel was the absolutely callous undeniable destruction of his reputation with respect to the aspiring comedian he once hoped to become.

Since he was obviously not acting in dire need for physical self-defense, it is clear that Arthur was wrong in shooting Murray dead (especially doing so all out in the dramatic open on public television); and yet Murray is partially culpable himself for suffering fatal head-trauma live on air. Of course, one may argue that old joking Murray had not meant to destroy the guy, had not intended to smash to smithereens the other’s chances of making it in the world of comedy; and yet while it is true that–on the one hand–whenever someone, thanks to Murray, suffers a fate akin to Arthur, that they–as such–should try to lighten up, not take things that seriously, that severely; and while it is certainly commendable for whatever victim to be able to lightheartedly rationalize away whatever cheap shots would have been leveled by (the likes of) Murray; on the other hand, it would be unreasonable to expect that everyone victim of old fart-knocking Murray’s knee-slapping hoots would respond in such noble and sportsman-like a fashion. And so Murray does owe it to himself to some yet-to-be-determined extent that one of his televised put-down victims precisely might end up taking things the wrong way and come back blasting, itching to get even using–for example–a few of his tagging-along explosive little leaden friends.

What Murray does not seem to have realized was that Arthur saw himself very much dependent on the extent by which he was recognized by other people — only just now, when lamenting that he passes by people everyday and yet they don’t notice him, stressing once again the for him vital egosyntonic importance to be sensed by fellow Gothamers: it makes him feel alive, he confessed as much earlier to his social worker. In other words, since he was vitally dependent on the ascension of his public image, Arthur was left very sensitive and finicky about its definition and the ways it was advertised.

When Penny earlier had casually passed a vote of no confidence as to Arthur’s viability for becoming a stand-up comic, she might be held to account for being blinded by her own Narcissism to recognize that other people close to her might have delicate Narcissistic needs comparable to her own. And Murray had done the same sort of thing, offhandedly judging Arthur to be a pathetic joke of a clown, thus nonchalantly delivering what to his victim was a fatal blow to his dearly beloved image (of an ideally-successful stand-up comedian).

And yet Murray had gone further than Penny, a lot further in fact, by way of using television as his choice means to broadcast the sensitive image impressions based on Arthur across an untold large number of Gotham’s households. Arthur, facilitated by his image-driven obsession coupled with a vulnerable psychic constitution, had ended up the victim of such a subjective yet potent weapon. By covering the entire surface area of Gotham, courtesy of his show being televised, Murray had–in Arthur’s mind–effectively inflicted an image-destroying destruction comparable to the image-counterpart of an atomic bomb. And this figuratively atomic bomb grade of attack on the vitality of his mentally stored self-image, had translated into a most grievous of Narcissism deflationary injuries, causing Arthur to sustain something which in clinical circles is called a Narcissistic Injury and one of the highest possible calibers imaginable.

In a most brutally-open televised fashion, with a bit of bad luck in front of all of Gotham, Murray had seriously wounded Arthur’s image, nuked it, and it was as if he therefore had virtually gone to wound him in flesh-and-blood person; he was left with psychic trauma which may very well have made him suffer physically as well (psychosomatically), the way–for example–some may end up feeling sick to the stomach in response to a sustained personal yet non-physical slight; and because of having been brought to–what would then be–a state of immense personal suffering, found himself unable to forgive the one who effectively had assaulted him in such a seemingly vile, unjust and painful sort of way. In Arthur’s eyes, Murray had committed the grave offense of incinerating his public image, a most grave offense indeed; feeling no less than an attempt on his very life, a dangerous virtual near-death blow to his very capacity to feel alive — feeling it no longer possible that the people of Gotham henceforth would positively and appreciatively notice him when meeting him face-to-face: in the street, on stage, or wherever.

By killing Murray in retaliation, Arthur went to physically shame his victim in the most severe of ways: he sought to forever sully and shame the legacy of Murray by making sure to etch into the minds of as many viewers as possible just how exactly Murray came to suffer such a grotesquely-humiliating bloody end; thus serving to eternally taint the memory of the once widely-celebrated and flamboyantly-vibrant superstar host — who was since brutally murdered for all to see, permanently flung into a vicious vat of tar and feathers, eagerly slaughtered like a filthy pig, gladly offed like a rabid dog, carelessly tossed in the trash like yesterday’s bloody news; at least such would sort of be the degrading revamped image impression of Murray which Arthur by his lethal action implied to hope to inspire into the minds of as many people of Gotham as possible.

In simple terms, in effect–on the one hand–Arthur is saying that, yes, he had been the victim of Murray’s degrading televised ridicule, suffered so greatly because of it–in fact–that Murray might as well have killed him in real life – live on television; but–on the other hand–that he also since had made a significant effort to redeem his tragic fate, by making sure that Murray came to a similarly tragic end himself, in a likewise televised shameful manner. In other words still, to Arthur it was as if Murray had nuked his public image as up-and-coming comedian (an, ideally, arbitrarily popular and lauded one), and therefore effectively had nuked his private corresponding self-image; which caused him tremendous inner pain and hardship (courtesy of his wounded Narcissism), and so now he saw himself entirely vindicated to deal a similar kind of blow to Murray; and by killing him–on his own televised live show, nuking his public image in a welter of blood–he aimed to do just that.

To Arthur–intoxicated by a thirst for self-righteous revenge–it may even seem that he had been rather good on Murray by ending his life so abruptly, by instantly putting him out of misery. Quite unlike Arthur, who may have started suffering, at Murray’s inspirational hand, the minute he was witness to the host’s apparent nuclear butchering of his name live on television, Murray was spared from suffering even one single second — couldn’t even be brought to a state of suffering, because his central nervous system lost the general capacity to register suffering of whatever kind in a mere split second of time. Hence, Arthur might see himself perfectly justified to ease his conscience by telling himself that at least he hadn’t caused his victim any kind of suffering, and since his victim seemingly caused him such extensive prior suffering, the killer clown might even have reason to consider himself the more noble of the two.

Note also, at least according to my own little theoretical augmentation to the story plot, that Arthur is following in the exact same behavioral footsteps of his own childhood abuser. The boyfriend of his mother, the atrocious bully he went around acting, felt as if Arthur was making fun of him (for however long), and at one point retaliated by inflicting on Arthur the horrific abuse which he did. By repressing memories of and emotional connection to these traumatic events, preferring instead to laugh his ass off after finding out about his childhood abuse ordeals, basically covering up–indeed, burying–memories of his whole life in thick layers of ridicule, the poor self-sabotaging guy squandered away all hope of ever being able to really understand his own person, especially as to the traumas which had such crucial life-altering influence on the development of his character.

As such, when he ended up the victim of what he considered was a truly monstrous episode of ridicule coming from old merrily-smiling Maestro Murray, a Narcissistically-wounded Arthur lacked the mental resources to rein himself in, unable to tend to his gaping wound with soothing self-love, unable to forgive his abuser, and therefore unable to prevent himself from ultimately seeking solace in the same sort of retaliation which his own childhood abuser had resorted to in dealing with his own alleged case of victimhood inflicted by young Arthur, the latter who either may have been innocently goofing and frolicking around or who perhaps was making fun with a (slightly) more sinister motive in order to wry that reciprocal smile also from mommy’s boyfriend (which one of the two options goes, depends on the extent to which young Arthur’s Narcissism was already blossoming at that period in his life, i.e. the extent to which he was left yearning for praise as a reward for his ceaseless efforts at levity, payback for his loyal dedication to raise spirits, savoring the reception of those wonderfully-soothing reciprocal smiles from all those people he sought to please).

The inferred train of thinking by the abuser boyfriend then being something along the lines: “Oh, you want me to smile for you, you annoying little shit? Okay, I’ll smile for your joking little ass. . . I’ll be smiling alright. In fact, I’ll be smiling the biggest smile ever, while I make you pay for making fun of me.” And a sleepwalking Arthur couldn’t help but go down the same blood-red road of shame-redeeming vengeance.

No longer seeing himself able to ever enjoy being positively noticed by the people of Gotham, feeling essentially fatally-injured in his Narcissism aiming for famous recognition in a positive way, there was little left for Arthur to now try being noticed in a necessarily negative sense, in ways which serve to bring notoriety to his person (since turned full-blown homicidal gangster). Although Murray is not exclusively responsible for this particularly painful and unfortunate pathological development in Arthur’s life, he nevertheless is culpable to a yet-to-be-determined extent, just like some other people somehow intimately connected to Arthur, not least of whom is his selectively-blind now-late counterfeit own mother, as well as of course her fateful abuser former boyfriend.

28.ii.2 In terms of idolatry . . .

(28.2| Instead of even beginning to explain what really happened on the subway train that decisive night, Arthur sketches a very prejudicial and crude picture of his social world and the pitiful eternal circumstances surrounding his own person. He says nothing about how the Wall Street guys were attacking him and that he shot and killed them in an admittedly overblown form of self-defense (telling the truth would therefore incriminate also his own person and that’s the kind of picture he seemingly does not want to promote of himself). He fails to give any contextual explanation as to what caused him to end up on the floor of the train being stomped at aggressively by three obnoxious and intoxicated guys.

Instead, Arthur gives a very generalizing picture of his world that serves most of all to cast him in a pure light of perpetual victimhood and innocence: people are awful and awful people automatically do awful things and he’s but a pure victim of their awfulness; everyone ignores and neglects him in daily life as if for-all-practical-purposes he doesn’t exist; everyone is uncivil and constantly screams and yells at everyone else; no-one is compassionate anymore — especially Thomas Wayne, who in particular would be thinking that the victimhood-likes of Arthur will just forever sit around like good little masochists by doing nothing against being constantly victimized by the endless bullying of other people;

Arthur’s show of self-exonerating prejudice may be modeled in truncated script-form as follows:

i. Psychic Abuse of the Prejudgment kind: Level = Moral Error; Perp = Arthur; Victims* = Arthur&WS#1.2.3&Everybody*&Wayne&Murray; Audience = Arthur&Murray&Gene&DrSally&Barry&LiveAudience28&TVAudience28;

The sets LiveAudience28 versus TVAudience28 comprise the members of Murray’s live audience versus the total of Murray’s televised viewership, respectively; and with both sets pertaining to this chapter, 28;

The set Everybody* may be said to be an irregular or subjective set (hence the wildcard *-extension), meaning that its members are not fixed as usual but rather vary from Audience member to Audience member; it is meant to signify the total number of people that some member of Audience happens to know, and this of course varies from person to person. Since Everybody* is an irregular set, Victims* which contains Everybody*, is likewise an irregular or subjective set.

1. Incoming-stage: Arthur initiates a potential practice of Abstract…
{} Arthur-idolatry:[X] Noticed by nobody in everyday life;
{} WS#1.2.3-idolatry:[X] Killed because of being awful;
{} Everybody*-idolatry:[X] Being awful; [X] Yells and screams at other people; [X] No longer civil; [M] No sense of compassion;
{} Wayne-idolatry:[M] Supremely egocentric; [M] Incapable of thinking of other people;[M] Thinking that the likes of Arthur will just sit still and take it like good little (masochistic) boys, that they won’t werewolf and go wild in retaliation;
{} Murray-idolatry:[X] Being awful, [M] in particular with respect to Arthur for playing his tape live on air, trying to make fun of him in front of all of Gotham;
{+} Arthur-idolatry: [M] Pure victim of the awfulness and incivility of other people; [M] Innocent and entitled to compensation for sustained grievances;
Abstract Pidols are distributed over Audience;

2. Scene of Immorality-stage: Arthur initiates a potential practice of Concrete PrimePidol-targeted…
{+} Arthur-idolatry: Superior by Prejudging Victims*/ in front of Audience/ – Using Name&Body/;
{} Arthur-idolatry: Inferior by Being Used in Name&Body/ by Arthur/ to Prejudge Victims*/ in front of Audience/;
{} Arthur&Murray-idolatry: Inferior by Being Prejudged by Arthur/ in front of Audience/ – Using Name&Body/;
Arthur/Murray exposes PrimePidol audiovisually to [Audience minus Arthur/Murray], audially to self;

3. Rationalization-stage: Arthur initiates an implicit potential practice of Abstract…
{+} Arthur-idolatry: Righteous and Entitled to Prejudge Victims*/ in front of Audience/ – Using Name&Body/;
{} Arthur-idolatry: Unrighteous and Deserving to be Used in Name&Body/ by Arthur/ Prejudging Victims*/ in front of Audience/;
{} Victims*-idolatry: Unrighteous and Deserving to be Prejudged by Arthur/ in front of Audience/ – Using Name&Body/;
Abstract Pidols are disseminated over Audience;

If we define the compound or pool set Victims to be the union of all Victims* sets (pooled over all Audience members), we may state that in summary, qualitatively, Arthur incurs authentic guilt toward everyone involved in his act of Prejudgment — [Audience&Victims minus Arthur&Murray&Wayne], more so toward Murray&Wayne and especially toward Arthur himself; |28.2)

(28.3| In response to Arthur’s tirade and barrage of blanket accusations, also including Murray himself, the host likewise himself resorts to a little show of prejudice which also seeks to displace away from himself any blame that might be attachable to his person; and instead goes to place the blame for what is happening to Gotham City at the exclusive address of Arthur. Murray sadly leaves out any possibility that there might be other actors involved in creating the crisis now gripping the city, people like Wayne for example (or, indirectly, Murray himself ironically enough).

In turn, Murray’s own act of prejudice may be captured in script-form as:

i. Psychic Abuse of the Prejudgment kind: Level = Moral Error; Perp = Murray; Victim = Arthur; Audience = Arthur&Murray&Gene&DrSally&Barry&LiveAudience28&TVAudience28;

1. Incoming-stage: Murray initiates a potential practice of Abstract…
{} Arthur-idolatry:[M] Solely responsible for the riots; [M] Solely responsible for two policemen being in critical condition; [X] Solely responsible for someone getting killed today; [M] I am awful, especially for laughing about it all;
{+} Murray-idolatry: [M] I am not at all (that) awful; [M] At least my supposed awfulness pales in comparison to the awfulness manifested by Arthur, a sadistic and radical Arthur;
Abstract Pidols are distributed over Audience;

2. Scene of Immorality-stage: Murray initiates a potential practice of Concrete PrimePidol-targeted…
{+} Murray-idolatry: Superior by Prejudging Arthur/ in front of Audience/ – Using Name&Body/;
{} Murray-idolatry: Inferior by Being Used in Name&Body/ by Murray/ to Prejudge Arthur/ in front of Audience/;
{} Arthur-idolatry: Inferior by Being Prejudged by Murray/ in front of Audience/ – Using Name&Body/;
Murray/Arthur exposes PrimePidol audiovisually to [Audience minus Murray/Arthur], audially to self;

3. Rationalization-stage: Murray initiates an implicit potential practice of Abstract…
{+} Murray-idolatry: Righteous and Entitled to Prejudge Arthur/ in front of Audience/ – Using Name&Body/;
{} Murray-idolatry: Unrighteous and Deserving to be Used in Name&Body/ by Murray/ Prejudging Arthur/ in front of Audience/;
{} Arthur-idolatry: Unrighteous and Deserving to be Prejudged by Murray/ in front of Audience/ – Using Name&Body/;
Abstract Pidols are disseminated over Audience;

In summary, qualitatively, Murray incurs authentic guilt toward everyone involved in his act of Prejudgment — [Audience minus Arthur&Murray] and especially toward Arthur and Murray himself;

4. In terms of actualization, Murray probably did not see anything wrong in expressing his prejudice, not seeing it as such in all likelihood; and so Murray together with all those who support him, his fans and all those who reflexively resent the clown, will likely actualize his practices (by calling it justice, instead of injustice). In stark contrast, those who do side with the clown, will tend to reject Murray’s image impressions casting Arthur in a bad light and Murray in a good light. Arthur’s supporters will likely be partial to different image impressions: that the clown was responsible for the riots and perhaps also for sending two detectives in the hospital, but that such developments were not awful, not deserving to condemned at all; rather they supposedly would be something commendable, reasons to flaunt pride over (if the two detectives had died, they would have been nothing but trophy kills) since they are to be viewed as birth pangs of a burgeoning revolution, inherently just and vitally needed.

In terms of conscience, by prejudging Arthur so readily and reflexively in front of the people of Gotham, an adversarial Murray cannot be said to act in line with his authentic conscience; but in terms of his praise-seeking and power-seeking sort of inauthentic conscience, his actions make more sense — as he implicitly tries to draw sympathy toward his own person, in a direct sense from his live audience and an indirect sense from his TV audience, all at the expense of his colorful object of prejudgment.

In terms of sacrifice, just like Wayne did in front of television before him, Murray’s act of prejudgment also serves to foment division in Gotham: backed up by his fans and supporters, he puts himself in opposition to the camp of the clown. Had he survived his encounter with the clown, Murray would do best to as of that moment watch his back when walking the streets of Gotham, especially when being out all alone (in the darkness of night). By his heedless act of prejudgment at the clown’s expense, he suddenly revealed himself as an enemy of the Joker and all those who support the Joker; thereby painting a virtual bullseye on his own back for all those folks whom Wayne had earlier designated as nothing but clowns. In other words, in the hypothetical situation he would have come out of it all in one piece, due to making a considerable effort from his own end to sacrifice the prospects of having normal Golden Rule-compliant relationships with Joker and his thuggish band of sympathizers, Murray put first and foremost his own safety on the line. |28.3)

(28.4| By expressing his prejudicial plea serving to excuse himself and paint himself as a victim, Arthur set himself up as someone entitled for redemption, entitled to be compensated for sustained losses, grave losses. Since he holds Murray chiefly responsible for having landed in what to Arthur is an unbearable predicament, with the prospects of becoming a successful stage comic rudely flushed down the drain (or so he would vehemently think), he has maneuvered himself into what to him is nothing but a justified position to launch his bloody retaliation.

By earlier playing Arthur’s tape, Murray had initiated a for the other reckless potential practice of Abstract Negative Person-idolatry with the reluctant and no-longer-smiling clown for its object of worship; and because of such severe act of treachery, the slighted object then saw himself entirely vindicated to retaliate by first initiating a private and self-actualized practice of Abstract Negative Murray-idolatry; and after mentally sufficiently softening-up the target by effectively killing the TV host in his mind (mentally tortured to death), the path had been cleared for the initiation of a likewise viewed perfectly-vindicated follow-up bloody potential practice of this time Concrete PrimePidoltargeted Negative Murray-idolatry; and through his killing act, blemishing the victim’s PrimePidol in a most grotesque of ways, while remaining perfectly unrepentant of it all, went to also initiate the usual dual abuse-rationalizing abstract practices: an accompanying potential practice of Abstract Negative Murray-idolatry, with attributes revolving around shame, guilt and deserving to be lethally punished; as well as a potential practice of Abstract Positive Joker-idolatry, with attributes revolving around righteousness and entitlement of lethally punish.

In more comprehensive script-format, Arthur’s execution of Murray may be rendered as:

i. Physical Abuse of the Body kind: Level = grievous Moral Crime; Perp = Arthur; Victim = Murray; Audience = Arthur&Murray&Gene&DrSally&Barry&LiveAudience28&TVAudience28;

1. Incoming-stage: Arthur incurs authentic guilt toward Murray for shooting him in the head, thus killing him;

2. Scene of Immorality-stage: Arthur initiates a potential practice of Concrete PrimePidol-targeted…
{+} Arthur-idolatry: Superior by Bodily Abusing Murray/ in front of Audience/ – Using Name&Body/;
{} Arthur-idolatry: Inferior by Being Used in Name&Body/ by Arthur/ Bodily Abusing Murray/ in front of Audience/;
{} Murray-idolatry: Inferior by Getting Bodily Abused by Arthur/ in front of Audience/ – Using Name&Body/;
Each exposes PrimePidol audiovisually to the others of Audience, audially to self;

3. Rationalization-stage: Arthur initiates an implicit potential practice of Abstract…
{+} Arthur-idolatry: Righteous and Entitled to Bodily Abuse Murray/ in front of Audience/ – Using Name&Body/;
{} Arthur-idolatry: Unrighteous and Deserving to be Used in Name&Body/ by Arthur/ Bodily Abusing Murray/ in front of Audience/;
{} Murray-idolatry: Unrighteous and Deserving to be Bodily Abused by Arthur/ in front of Audience/ – Using Name&Body/;
Abstract Pidols are disseminated over Audience;

In summary, qualitatively, Arthur incurs authentic guilt toward all involved in his Bodily Abuse — Audience minus Arthur&Murray, more so toward Murray and especially toward Arthur himself;

4. In terms of sacrifice, by sacrificing the life of the popular TV host (in a deluge of bloody violence), the totality of sacrifices which Arthur forces into being are obviously substantial. First off, Arthur once again makes a sure human sacrifice, forcing the victim to part with the remainder of his life. As a result, Arthur comes to sacrifice the reality of all possible affectionate relationships which the victim had with whomever. Being the popular TV host he was, Murray seems to have had a lot of fans, and so now all those fans are suddenly brought to a state of mourning, suddenly deprived of the recurring opportunity–like Arthur himself once did–to enjoy watching Murray goof and joke around on television. The TV station is suddenly deprived of one of their valuable human assets, and all of his colleagues, fellow workers, have to process the loss of their colleague, or boss; also a significant source of income is either wiped away or threatened with its continuance if no decent replacement for Murray can be found.

In terms of actualization, while it is doubtful that any members of the now-panicking audience would (in general) be anywhere near willing to actualize Arthur’s practices; indeed, rather than seeing him as some kind of hero on a righteous path of personal redemption, they will sooner see him as a dangerous lunatic, someone who should either belong in a good-old-fashioned prison cell or be wearing a straitjacket while locked-up in a soft-walled room. In stark contrast, the situation is obviously a lot different for all those Gothamers who are sympathizers of Arthur, all those clown-mask-wearing protesting and rioting poor folks, belonging to a wider class of allegedly defective people labeled as nothing but clowns by their nemesis. It is not such a stretch to imagine that all those protesters/rioters who were rooting for the deemed heroic killer clown, will be willing to actualize Arthur’s practices seeking to permanently tank, or at least soil, the name and legacy belonging to an enemy of their big role-model, even, savior.

Indeed, seeing their worshipful idol manifest himself in all bloody glory live on television, killing one of his own main enemies right in the middle of the most magnificent of available spotlights and limelights, might serve to add only more glamor, prestige and awe to the already legendary killer clown; and might very well go on to inspire his grateful supporters to–for example–set out, already that very same night, on rampages and looting sprees serving to wreck down-town Gotham; and, as such, show just how inspired and fired-up they were feeling after having had the exclusive once-in-a-life-time kind of honor to witness their outstanding hero’s exemplary not-to-be-messed-with brutal (((badass))) action captured on <live> television.

In terms of conscience, it should be obvious that Arthur’s lethal action as well as his wanton act of prejudgment building up to his execution of Murray, are hard to explain in terms of his authentic conscience; but in terms of his praise-seeking and power-seeking inauthentic conscience it makes a whole lot more sense, since his bold actions only serve to paint him as a daring hero in front of his supporters, the sort of hero who managed to force his victimizer to get his comeuppance; and so Joker may look toward the egosyntonically blissful event of receiving plenty of praise and support for them. |28.4)


29.i Ascending from a Cradle of Flames and Chaos — Mentally Murdering Wayne

Following his arrest, Joker lands in the back of a police car, being transported from the Murray Franklin Studio to what probably is the nearest precinct down-town. He looks out of his window and once again a blue vertical streak can be seen underneath one of his eyes; while manifesting ever-more-manic sadistic delight, he must have shed a tear as well, as if a part of himself was still desperately trying to hold on to his more authentic human and compassionate side. Alas, to the detriment of humanity, the sight of all this concrete jungle sort of mayhem and destruction is too rewarding, too tempting, too intoxicating, as he gets to savor the culmination of what to crucial extent is his own toxic work, his cataclysmic own Magnum Opus: the whole city center engulfed in flames, plundering people running around wildly while wearing wayward wisecracker masks, causing havoc everywhere, random cars lit on fire, chaos and violence all over the place.

When he starts laughing at the sheer sight of it all, the police officer driving the vehicle scolds him, assuring the sarcastically crooked clown what he already knew (or what he wanted to believe): that – the whole fucking city’s on fire” – because of what he did. Just when an amused Joker retorts with – I know. Isn’t it beautiful?“, the squad car suddenly–out of nowhere–gets rammed by a van gone haywire, ironically an ambulance no less.

Although he is eager to claim credit for it, Joker is guilty of boasting when he implicitly affirms to be exclusively responsible for turning the whole goddam district of down-town Gotham into the infernal grand-scale madhouse which it now is. It was Thomas Wayne who had–after all–declared on television, for all to see, that all those folks who were to have failed making something of their lives, would be nothing but clowns, the sort of people whom–he claimed–were scared and cowardly and whom–he implied–were deserving of nothing short of wholesale relegation to the lowest possible rung of public esteem; and that furthermore only Wayne supposedly was going to be able to save them, lift them out of poverty, make their lives better, thus casually implying them to be hopelessly pathetic on top of being inherently ridiculous, hence profoundly humiliating them collectively twice over; leaving them–after all smoke had cleared, the proverbial bodies counted–therefore well motivated to come back swinging, itching to get even with Wayne and everything he stood for: the whole corrupt system, the crooked establishment, especially its rich-ass power-hungry branch high as a fucking kite on wanton hubris and cosmic-grade megalomania.

While it is true that Joker–