Inside Business Report And Review Tv Scam: The Nature Of Truth And Lie

The news is warped, manipulated, molded, and sculpted to meet and sustain the basic assumptions of our corporate new-colonial bellicose system. With the understanding of basic values and assumptions, and with re-thinking the nature of truth and lie as portrayed in magazines, newspapers, television news, business news, and other so-called purveyors of truth, comes a re-evaluation of the relationship between truth and lie, between corruption and purity, between the scam and honest business. The inside business report scam is the scam within us all.

Whether you are Fred Thompson running for office based on nothing but your celebrity credentials or Michael Bloomberg, buying the mayor's office of New York City, the first rule of power and the scam is that he who has the gold rules. If only artists, painters, writers, and others on the fringe or elite of culture could understand this. But of course, they need the myth of truth as much as businessmen and waitresses do.

The opportunity for the contemporary artist, for the intellectual classes in this case is for re-thinking our relationship to objectification, to the objectification of the outside world and all of the economic and existential implications that objectification and oblivion entails. This opportunity gets to the very heart inside the business of report tv scams or inside business report review tv scams. For the contemporary painter, this opportunity lies in re-examining the basic elements of Painting (material, support, the subject of the image painted) in terms of the physicality of the painting practice, as well as in conceiving of an intangible but still material notion of social painting of making pictures for a larger audience, so as to re-configure or recombine painting as a vital experience with a direct relationship to materiality, to life and death. Today the implications of this opportunity are many as contemporary art lies in an intellectual and economic ghetto at the service of a techno-aristocracy that conceives of art as a cynical plaything and economic speculation object.

Painting must be life and death, and simultaneously, rise out of the superfluity of a joyous relationship to life and death, to violence, and to war. This is a paradox akin to life relying on death to realize its strongest form. To understand the origins of painting we must understand the vitality that this directness, this proximity to death and the play of space, of territory in relationship to death that infused the consciousness of prehistoric and tribal art. It is this vitality, this meditation on, and relationship to, death that most distinguishes prehistoric art from the art of our times.

By: Mediasophia

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George A. Magalios is a philosopher from Montreal. He writes about inside business report and review tv scams.