"Comedy always threatens to reveal why nothing is what it appears to be."
Listening only becomes accurate after you tap into the truth about reality. Consciousness is the truth, and it includes the sum of the lies we keep in place as “the truth.” Truth, in other words, includes TAG, or “The Anti-truth Game,” and both are always present. The problem is’t that both are always present, the problem is amnesia obscures the explanation why both can co-exist simultaneously. It would appear that the goal of amnesia is to obscure the fact the one of something is always both; what it is and what it isn’t. There is no duality if the one is always both. What protects the lie the one is not the other is amnesia, a shield that defends that lie so we can fill time pretending we exist outside of truth, as if we live outside of consciousness, in what we keep in place as “reality.”
If consciousness includes TAG, and TAG relies on amnesia to obscure truth, so we can dismiss the fact we are content in consciousness, then comedy is duality, the fiction truth is divisible into what it is, and what it’s not, as if the two are separate. Comedy always threatens to reveal why nothing is what it appears to be. A good comedian pushes through the wall of amnesia to put the audience in touch with the fact that reality is a charade, the arena in which “the players,” to use Shakespeare’s analogy, defend the lie they are who they pretend to be. This disparity between the truth and the lie is always present as some vague sense of anxiety, a warning signal that who we impostor is always ‘at risk.’
Our embarrassment is justified: we fill time with our impersonation as if we are who are impersonating, and truth, which resides on the other side of amnesia, watches our performance, amused by our determination to prove we are who we impersonate by relying on amnesia to dismiss truth as false. How can truth be false when A is B, pretending B is not A? Once this comes into focus, the shift from tragedy to comedy creeps into view, dismissed initially as an artifact and not a fixed fact. A joke always threatens to reveal that B is always A, especially when it does not A. A good example is, “Aside from that Mrs. Lincoln, how did you like the play?”
“Without amnesia everyone would know why reality isn’t what it appears to be. Without amnesia, there would be no drama, because drama is inevitable as long as we insist B is not A. Drama stems from how we fill time defending the fiction we can prove B is not A. If A is always B, then there is no such thing as not A, which makes the defense of B, as a separate, independent entity, the focal point for all comedy.
Everyone is A, filling time creating duality to defend the lie B is not A. If A is aways B then there is no such thing as duality. Defending the lie B is not A (duality) is what makes all of us funny. We are always A, creating duality to defend the fiction we are B, or not A, and this lifts the cover on why reality is a charade. No one is who they profess to be, and amnesia keeps the ‘secret’ secret so we can pursue a non existent goal, as if it exists. If B is always A doing not A, then reality is always a charade, and when that comes into focus, seriousness gives way to laughter.
Time features TAG, or the degree to which everyone fills time with their not A performance. To be awake is to watch how A does B doing not A. A includes the fact no one has anything wrong with them. If this is true, then this ‘news’ should result in a huge celebration. If A is always okay, and B does not A by insisting something is ‘wrong’ with B, then B relies on amnesia to keep truth out of sight and out of mind. How can you prove you are an authentic loser (B) if A is what you are, displaying how you fill time doing not A by impostering B, “an authentic loser?”
Is anyone a liar, or does doing not A (B) include the lies we keep in place as facts to do not A convincingly? Is anyone bad in fact, or does B’s performance include ‘bad behavior’ in defense of the lie B is not A?
Comedy includes the fact TAG, “The Anti-truth Game,” isn’t winnable. No B can prove it is not A, no matter how much drama and energy it brings to the charade. if reality is a charade in progress, then comedy includes the sum of how A does B to feign defection from A. If A is B in disguise, then you are always in the comedy, displaying where you are right now with that fact. How does the comedy feature you taking ‘the self’ seriously, as if it exists to be defended? Can A do B believably if B’s believability depends on the lie ‘the self is real? B is A doing not A by filing time with the fiction ‘the self’ is real and not content in a charade.
Doing B convincingly explains the origin of fatigue: it takes a lot of work to defend the lie ‘the self’ is real. When the curtain of amnesia parts, what comes into focus is A does not A (B) by filling the charade with the fiction ‘the self’ is real. Laughing at your ‘self’ makes perfect sense, especially when you fill time defending the lie the self you have is a ‘bad self,’ and you rely on ‘bad behavior’ to prove it. Without the reiteration of ‘bad behavior,’ how is B going to do not A believably?
Doing time in life may seem like a sentence, but is that true, or does B do that to play the part of a ‘victim?’ If A is the truth, and B is A doing not A, is anyone a ‘victim’ in fact, or is that central to the charade we find our ‘selves’ in? Statistically, how popular is “The Victim Parody” in this charade? If you have a working zoom lens, notice that the charade features us competing to defend the fiction someone had a ‘childhood,’ and that mine was much worse than yours. If you doubt this, I can prove it with emotion, especially with ‘bad memories.’