False Flags, True Colors
“The situation in France is cooling down – all actors are dead. It was somewhat expectable bearing in mind that, in the last twenty or so years, there wasn’t a single terrorist attack enacted by perpetrators unmonitored in some way by secret services. Some section commander had a sudden epiphany and said:”Oh yes, the X has done it … hmmm … let’s settle it then. We should’ve done it long time ago, but … you know … never got around to do it.” It would be interesting to know what the perpetrators thought about those government officials but that’s now forfeit. When intelligence services finally do their thing, they always seem to get carried away a bit and efficiently exterminate them. “
Sometimes it seems that whole world conspires to make writer’s life easier, even to an extent that he can write an article entirely quoting what he wrote less than a year before. I wrote this in the aftermath of Charlie Hebdo shooting and, as the muddy waters of international media are slowly stilling themselves to produce just the right shade of grey, it seems I could reiterate much of what I wrote then, regarding the strange circumstances of the current events in France.
Therefore, I won’t do that.
I will not dwell in the symptoms of false flag attack, popping up throughout the media imagery like smallpox boils. They are there, ugly and itching, but just this once let others dissect them. Instead I’ll say a few words about flags themselves, at least those that still serve their proper purpose – to signal one’s belonging, allegiance and group.
Namely, as was expected, the killings in Paris were instantly followed by emergence of Facebook profile picture filters bearing the image of French flag; I wouldn’t be at all surprised if in the wake of next terrorist “event”, pictures begin to circulate before the actual shootout or bombing takes place, as sure and inevitable as those passports that start floating in the wind every time someone blows himself up in public. This time around, however, someone got creative and decided to give this symbol of allegiance a true and comprehensive explanation so that everyone who sees it will finally be sure about where exactly does he stand when he starts waving the virtual flag. Namely, radical virtual compassion moved some passionate paragon of social justice to demonstrate the significance of the French flag by depicting it’s genesis from the body of drowned Kurdish child, washed on the shores of Turkey in the wake of “refugee crisis”, whose image helped to “stir compassion” in the hearts of Western public. Well, the poor photo named Aylan Kurdi has it’s five minutes of fame stretched to a few additional minutes more, as it is, apparently, proving still useful in probing the depths of moral abyss Western public plunged itself into. As we depicted already on Kali Tribune , the image of the dead child served as an incitement of compassion through shock and awe, something that hundreds of thousands of real dead people couldn’t do; moreover, the image itself was detached from it’s original. I wrote:
„Suffering children are the mainstay of contemporary perception management (…) because they aptly provoke just the right kind of simulated compassion, but this photo excels in insidiousness and sheer audacity of it’s message. It is a Holly Icon to be venerated and, as is usual with religion of political correctness, we’ll probably soon see “Drowned Boy” T-shirts or, at least, “Drowned Boy” FB profile pictures.“
In propaganda of our times image apparently absorbs the original in the message, i.e. the original serves as mere factual foundation for putting media consumer in just the right emotional state – in the case of “Drowned boy”, an approval of engineered immigration from Middle East into Europe. All those dead in Syria and Iraq meant nothing until public notables and celebrities started waving the image of dead infant’s body like a flag.
And now someone figured out that the colors of toddler’s shorts, skin and T shirt in fact are blue, white and red of the French flag, as we can see from the above image. Well, I cannot argue with that. The death gave just the right degree of whiteness to poor child’s naturally darker tan, thus providing the Faithfull of Political Correctness with just the right archetypal image to express what they really believe in, where they really belong to and who they really are.
Namely, morphing the “Drowned boy” image into a “French flag” image is an entirely consequent phase in the process of erasing the original – a sort of burying him and then discretely dancing on his grave – and implementing the imitation. “Drowned boy” appropriated and absorbed the dead child to send a political message and now is itself morphing into something that erases even the bodily shape of his humanity. Observe the sequence, if you please: the arrow pointing to the pale whiteness of the skin is focusing attention on the dead tissue; by dragging our gaze further into the image the piece of moribund flesh morphs into a centerpiece of the tricolor flag, ceasing to be human – if even dead human – and becoming the visual message of, presumably, liberté, égalité et fraternité.
The obscenity of this procedure, it’s complete inhumanity – anti-humanity even – proves the point that Political Correctness is actively evil, something more often than not overlooked even by those who despise it. In one previous article I wrote:
“ Good and evil are not intrinsic to political correctness, they are it’s variables. Therefore, if something is bad this only means it reinforces the good, thus becoming in itself – rather good (…)The variable of good and evil is completely arbitrary with a sole condition of bringing about the equality of both sides. When ‘yes’ and ‘no’ are equally valid, then they really have to be one (…) This is the core of political correctness, still hidden from view for many people. Namely, it is not only a caricature of good, it is it’s utter negation. It is, therefore, evil.“
If you find this passage bewildering it’s because it claims that Political Correctness posits good and evil as logical equals, and then proceeds to conclude that Political Correctness is evil. So why couldn’t it be good, if good is equal to evil?
And that’s precisely the point: it is not.
What we, for a lack of the better term, call Political Correctness is an activity of unconsciously, but actively, turning this fact upside down. The dead child is good because it is appropriated to signal something politically correct and this renders his watery death not merely good, but necessary. Millions of immigrants will be better welcomed because of his sacrifice and now someone finally realized that it’s image can be extended and remodeled to serve as a foundation for new expression of pseudo-compassion. It is morbidly, demonically ironic that this realization comes precisely through focusing on his dead flesh, as if the death itself transforms him into symbol, leaving the observer – endowed with even a ghost of true human compassion – with the sense of acute nausea.
Political Correctness, even when taken seriously as a threat to free speech, is still completely misunderstood phenomena. It is not merely a passive act of going with the flow of public opinion or mere conformism to annoying, but bearable, rules of public expression. On the contrary, it is ever present invitation to evil. Politically Correct person is infected with a principle of thinking, speaking and acting that imitates the summit of morality, i.e. sainthood. But in order to properly live in accordance with it one must unequivocally ditch the original, i.e. real human proclivity to compassion which always proceeds from real people – one’s fellow men and women – and not images. I affirm that this rather natural stance present in huge majority of human beings cannot be sustained in politically correct manner, because PC is essentially pseudo-religious veneration of abstract concepts and, apparently, images. Those symbolic entities can be modeled and remodeled at will, and, as we can see from the example at hand, they slowly take the faithful of new civic religion by their noses in the territory of morbidity, necrophilia and, finally, evil.
So perhaps it would be wise for someone eager to harmlessly endow his or hers social media profile with French flag, to contemplate it’s origin. True enough, the flags are used for signaling. But those waving them had rarely an opportunity to devise them by themselves. So who knows what the real message of the Facebook filters waved by people’s Avatars in the virtual space is. On the face of it, it is a signaling of compassion; when we look a bit deeper, I’d say it’s more like a signaling of conformity. But when I take a real deep look into those colors, trying to depict the faces behind them, somewhere in the centre, where the color white is, I can’t help but glimpse a piece of flesh of a dead child turned into centerpiece of a flag.
Therefore, I’d say those are all false flags.
Bearing true colors of those waving them.