Hypernormalism By James Reed

     This is interesting, discussing the concept of hypernormalism, which for some odd reason reminds me of some sort of over-reactive thyroid disease, but I am probably wrong about that one, having an under-reactive thyroid that makes me the opposite of the Incredible Hulk, the Forgettable Sulk. The issue relates to our concern about why there is so little resistance from the normies, when it is basically open season on them and all they are being picked off like ducks in a shooting gallery at once was the Royal Shows, soon to be the Republican Shows.

“Documentary filmmaker and BBC journalist Adam Curtis has developed a cult following for his eccentric films that combine BBC archival footage into artistic montages combined with dark narratives that create a unique storytelling experience that’s both journalistic and entertaining. His latest film, “HyperNormalisation,” came out in 2016 and is perhaps even more apropos now, as many have the feeling that they’re waking up to an unprecedented, and unreal, world anew each and every day — and so-called fake news is all around. The term “HyperNormalisation” was coined by Alexei Yurchak, a Russian historian. In an interview with The Economist, Curtis explained that it’s used to describe the feeling that comes with accepting total fakeness as normal. Yurchak had used it in relation to living in the Soviet Union during the 1980s, but Curtis used it in response to living in the present-day U.S. and Europe. He said: “Everyone in my country and in America and throughout Europe knows that the system that they are living under isn’t working as it is supposed to; that there is a lot of corruption at the top … There is a sense of everything being slightly unreal; that you fight a war that seems to cost you nothing and it has no consequences at home; that money seems to grow on trees; that goods come from China and don’t seem to cost you anything; that phones make you feel liberated but that maybe they’re manipulating you but you’re not quite sure. It’s all slightly odd and slightly corrupt. So I was trying to make a film about where that feeling came from … I was just trying to show the same feeling of unreality, and also that those in charge know that we know that they don’t know what’s going on. That same feeling is pervasive in our society, and that’s what the film is about.”

Living in a Fake, Simple World
“HyperNormalisation” tells the story of how politicians, financiers and “technological utopians” constructed a fake world over the last four decades in an attempt to maintain power and control. Their fake world is simpler than the real world by design, and as a result people went along with it because the simplicity was reassuring. The transition began in 1975, when the film describes two world-changing moments that took place in two cities: New York City and Damascus, Syria, which shifted the world away from political control and toward one managed instead by financial services, technology and energy companies. First, New York ceded its power to bankers. As noted in The New Yorker:

“New York, embroiled in a debt crisis as its middle-class tax base is evaporated by white flight, starts to cede authority to its lenders. Fearing for the security of their loans, the banks, via a new committee Curtis contends was dominated by their leadership, the Municipal Assistance Corporation, set out to control the city’s finances, resulting in the first wave of banker-mandated austerity to greet a major American city as thousands of teachers, police officers, and firefighters are sacked.”

In Damascus, meanwhile, conflict between Henry Kissinger and Syrian head of state Hafez al-Assad grew, with Kissinger fearing a united Arab world and Assad angered that his attempts at transformation were fading. “Kissinger’s theory was that instead of having a comprehensive peace for Palestinians, which would cause specific problems, you split the Middle Eastern world and made everyone dissatisfied,” Curtis said. Further, “In Curtis’ view, the Syrian leader pioneered the use of suicide bombing against Americans,” The New Yorker explained, which then spread throughout the Middle East, accelerating Islamic terrorism in the U.S. While the roots of modern society can be traced back much further — millennia — Curtis chose to start “HyperNormalisation” in 1975 due to the economic crisis of the time. “1975 is when a shift in power happened in the Middle East at the same time as the shift in power away from politics toward finance began in the West,” he told Hyperallergic. “It’s arbitrary, but I chose that moment because those two things are at the root of a lot of other things we have today. It’s a dramatic moment.” The film then takes viewers on a timeline of recent history that appears as though you’re seeing bits and pieces of a scrapbook, but which ultimately support the larger message that the world is being controlled by a powerful few while the rest of us are willing puppets in the play, and we’re essentially living in an unreal world.”

     Yes, that is for sure; not just an unreal world, but one which is surreal:



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Sunday, 23 June 2024

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