In this, the first of a series of essays on the re-inscription of the total sense of lost meaning that was pertained on the past cultural rupture around the time JFK, jr, was shot dead and DYLAN decided to pander to the monopolists of culture industrial complexification OVER: smoking cigarrettes asxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Simple Truth Syrum: I often read other reviews for about a milli-second before deciding what I*am to think about the movie I’m*about to write not feeling about but about)feeling(if you catch the drift on the super important philosophical problematic concerning the facultization of human being out of constituent parts of human natures commensurable with their objectifying moderational elemental inscriptable elements of sense and feeling about things out in the world that makes the world itself****perceptible, sensible, and cognitable with regard to the ways in which these MEANS make sense, feeling, and cognition possible and the WAYS in which those means are use-ed to make hay with the world in which one is actual-imbrication(as a PRESENT, with regard to all this stuffing-stuff...))…BUT: the truth of it is that THERE IS NO AUDIENCE NO JUDGMENT NO RECEIVERS OF culture TO WATCH THAT MAKES ANY DIFFERENCE ON THE TOTAL ABSENCE OF TRUTH IN REALITY AS IT IS PRESENTED TO US ALL AND THAT MEANS WHEN A MOVIE LIKE THIS COMES OUT *****it is IMPERATIVE***that it IS respected. And guess what: that was the problem DYLAN FACED him*own,fuckin':self.

On the first hand case, the movie is a testament to what can be accomplished with a trailer-logic approach to film-making:::::first, on the one side of it, you can barely focus at times; and, then, second, on the other::::::situations just get total conspicuous on you immediately and even on tiny details of recognitionality that pertain on systemalized versions, themselves******of the present that, (LOW AND FUCKIN’ BEHOLD) SOMEBODY*******actually still gives a shit about in the exact right way(i.e.:::the smoking of cigarettes in this film could spawn an entire ouver of work on culture relationshipsz to reality fundamental as it gets (((i.e., that, when one wonders HOW CAN A PERSON CHOOSE THE PRECISE TIME AND PLACE TO SMOKE A CIGARETTE actually, the answer, as it pertains on the mother-fuckin' culture hegemony of the past is that it makes it possible to smoke as if it were prescribable BY THE CULTURE, which is to say that it isn't addiction per se that returns one to a cigarette but that, in the presence of a full life of things to do that are in and of themselves discontinuous(able) with one another(with respect to the absence of over-connecting technological re-linking of a continuous single present and the absence of a smartphone in one's pocket...) the REASON to smoke a cigarette becomes due to the proliferation of cigarette-smoking ALONE in the culture that makes the choice to smoke a cigarette not one of need, per se, but, rather, one that PERTAINS on the availability of the cigarettes as an OFFER(from the CULTURE ITSELF) to smoke them so as to reproduce the actual reality within which everyone KNOWS they each and every one are implicated as SIMPLE SMOKERS of tobacco for the purposes of smoking tobacco as if it were something to do as a cultural-Eventalizing, itself TOTALLY DISSOCIABLE from ANY KIND OF need*as addiction(which makes the smoking itself have little if nothing to do with the filling of the life between smokes as time-filler(which is actually how it is generally perceived()but that the smoking itself is conspicuous as cultural REPRESENTATION(not of oneself per se, actually, but TOTAL as a GESTURE, according to which Vilem Flusser would never have thought his shitty book would get a serious reader but there it is now done de-facto totally what he could not accomplish in his academic pretention phase of intellectualizing himself as an intellectual, and making sense of gesture?NO SMALL FEATURE OF A PHILOSOPHICAL transcendence of all that actually fuckin' IS AT ALL IN MY VIEW WINDOW). And to fill-out the parenthetical demise of a non-NYT student-written 'BECAUSE i MUST expound on it' banality-refusal(wink wink, educators, nobody knows better than this essay, you can be sure of it:-), the other side of the smoking presentation in this genius film(and it is TOTALLY OWED THIS QUALITY(and that* is meant GENUINELY))? Just to take a puff off the fucking cigarette as IF NOTHING ELSE IN THE FUCKING world is going on for you at all(two times academy award just for smoking a fucking cigarette as if its a fucking actual cigarette, Mr. Fuckin' Chalamet, unlike all these other actors that can only either pantomime the event or beg for CGI to ensure they don't rancid themselves on a cigarette break), which is somehow, in 2025, with the proliferation of all means and ways of making non-deadly tobacco deadly with filter manipulation and carcinogen-introduction of toxins into the dry-leaf, a totally radical act(which is *itself*(as a scene in a movie in which CHALAMET IS THE First to Act as a overseer of cultural restoration) the truth of ACTING(that he now unites with the broader public in a mode of acting the future as if it were the only possible outcome of the present lack of interesting stultifying solutions to the predicament of eternal damnation that re-works the present essay into much more epic terms if you can seriously be bothered to sift through this piece-meal of half-baked thinking in the stereotypical way in which this blog is now attempting to masquerade a new writing style...( hence the smoker unites the present with the past in this two foldedable manner of being gesturizable emptyness.

[part two to follow as if it were a scene in a scenographical natural ordering of nature as if the internet were itself composeable into discrete segments of time and place pertaining on the limitational nature of the internet itself as a BODY of thought that never ever ever ever dysjuncts and into which one is always always always thinking they are the planner and planificator on all things pertaining on the WORLD(which is actual NOT THE CASE and thinking this way rendersz culture itself as an endless persistent discriminatory elaborative pedantry according to which the present dysjunctability of CULTURE ITSELF is super-rendered as not possible at all, it being subject to the pure rationalization of inserting-oneself into culture as a simple actor according to a rationalism of the effectualtionality of the tableau in front of one as a discretizable canon of cultural knowledge...and *that* pertains on the effectuabilitysZ of.this.FILM(which is here capitalized as a function because the film itself is presently NOW behind us, and it inscribing itself the truth of itself as a Now Past into Rreality as a feeling)about( PRODUCED BY THE FILM that, now that it has arrived into the world and universe, must work its way *into* OUR* world from the void of feeling it leaves in us as perspicacity of affectualizable intention with regard to reformation of the PRESENT DIRE STRAIGHTS OF ALL CULTURAL WRITING. Hence::::::::::some rationality, some sense of the perspicacity of the film be ling not sense follow what must follow needs to be the excavated past as junk fuckin' essay flinging jargon cool as a tableau of feeling that connects from into the present back through the past into the truth of itself today reaching into an asshole the size of Chris Nolan's as a loss of what the past contains that the present no longer does that unites in the magic flute-suit of language and understanding as a SIMPLE FACT of life that now orients people concerning a lost mode of existing such as smoking in the empty and vacuous way it was once done with as part of a type of life style that no longer is insistateable(which means that although it is truly hard to comprehend smoking as a simple culture REP., it is even harder to effectuate the gesture of the present as an insistance that brings the past back to life again].