The Ten axioms laying out me in you in me.
1)All axioms are based upon vacuum: The thought that you have of me, as I know it, is always in a sense a lie- how can if be anything else. He reality it has is not the genuine realty, not my meditation f things about me that are good, it is rather my meditation of your approval of disapproval that makes alleged facet of myself appear as good. Because think that you think that you like them- I like them or feel that I like them. M account o myself I therefore only defined though my reading of what you are, and what you approve of. This approval or supposed approval becomes therefore my very truth. It becomes he only thing as a truth to me.
2)All certainties have a degree of abstraction.: The very thinking of you thinking of me, delightfully distances myself form myself. I am not really there. What I am becomes then in a sense a mere name one which your reaction are put. Your reactions around me, and your knowledge of my ‘essence’ is therefore taken given my actual reality. This abstraction is then a powerful tool as it allows one to move into the infinite loop of me and you in one another- we hold each others thought of ourselves, as then an abstract entity, which lacks actual content. It is therefore a me which is floating above the actual me. It is a me with certain bits highlighted and rubbed up, and other bits excluded. It I the me of the abstract affective painting and not the me of the accurate portrait. My soul (the abstract thing me paint) is therefore always defined within another reaction
3)The account is however often event based. However this abstraction does not sop the account fro being event based. It is in the stories tat we imagine another to tell of us and our deeds, that we flourish. The fact ten that these stories are not novels. They are then the mere distortion of a reality a series on unreal pointers within which we function as mere actor whose role it sis to struggle with fortune and give an account. We comes then bound up in our minds eye of another minds eye with stories, their hero or their villain, but always central premise. Our value in ourselves becomes then narrative based. It become a story and the story of stories….
4)All accounts are based on hectoring. I fix a me in a you is a difficult thing. It wants not care so much as the brutal hammer blows of words. It is all too easy for you to forget me. You might lose sigh of what I want you to know or think and then o course I will loose sight of myself). I must therefore always and at every point enforce my self within you. Hector bully hector- that is the watchword of advertisers and politicians alike….
5)All power is given to old young horrors. The powerfully agencies in this world are always those old-young things who gossip. They become in their vindictiveness and the passion for a story (old and young) the makers or destroyers of individuality as much as careers. To fall into their hands, is to risk what you are.That is is is there power to spread or supress the rumour or tell it as it is not, that creates the gossip. they are he creators of that mock affect, that story we share: Such is their bewitching charm.... The stink then whip up, the committee of the entire welder house or dining table across which the voices of society, the accounts in others of you are heard, in enough to destroy many an individual. Her threat in a sense overhangs the whole or makes or drives the whole lopesidward. In doing so they open minds onto he rules wihin and through which ones value of another’s value is defined. That is there exists at the heart of this telling of another individuals whose power lies in the telling. They are nothing but the rumour, and have nothing to loose in that story. They do not have the tension that all others have the worry that telling of m makes them look small or cheapens them in someway. As such their role is to collect together the rules of the telling eh rules that endure that as you tell of me you are making the pair of us look good .The old young horrors mark the point then one cannot simply expect you to tell o me is a disinterested manner. In the telling it Is certain that you are doing something, and helping also yourself. The role of society is therefore to codify how you help yourself in telling of me. The old-young horror is the master of this telling.
6)All values need to based on appropriateness (Rule I). If I am really going to grow in your mind then in a sense it matters less what I did and more how you can imagine me to be. therefore there is something about a me, something somehow that other will not want to think some disrespectful connection (I might be poor, or have large nose or anything) then I cannot expect (in all decency) that part of the tale to be the one that matters in their account. I cannot expect myself to be told about at all if this element Is too acerbic for their nature. If that its they feel that telling a talk in which disrespectful in some way. Te only successful rumours are the ones that help the tellers. They need therefore as they are rumours to grow the standing of the teller at all points. That which they tell, must and will shine reflection upon them as well as me. An I must respect that fact. I cannot therefore expect all of me in you. It is rather a pact in which what grows and is valued in you is what you can tell and have others how about you or think about you. The me in you which I have a right to think about is therefore the me that increases both other social standing It is theme you want to share with others. The indistinct e of positive legend. Anything else, anything than dos not make too look good and increase your power in your telling, I have no right to. No wonder then legends and gossip are so selves serving. That I they are told to glorify at least two individuals (teller and told of) and are such that can only respectfully fulfil this task. Or to put this another way- if I am really going to sacrifice myself enough to tell of you – to big you up, then I must be made bigger and yet bigger in the process myself.
7)Value that is besmirches me to hold is to be paid in money (rule 2). If I do not have any right to your value I ought to be satisfied with money. There exists therefore in a sense two currencies, one of value and one paid in money. The two are never independent (money if I have enough of it is also virtue value). But be that as it may, the immediate response to my action, if the telling is no worth of the accounted is for them to pay and be done. in paying you end our relationship. You have paid for due and we are free from one another, asserted your position (the power here lies with the one who can afford to pay) and are now done with it all. There is therefore nothing more to be said. Money is therefore the get to clause by which one you purchase your rights not to have anything more to do with me. We buy it, and we are free, and that is it, and dome twit it. Money therefore always respectability to defend itself against the other….
8)All help ought to be defined and limited (rule 3) . If the you in me is too powerful to be given pounds shillings and pence, if it is too rich then it can be expressed within money or one interest is too deep, the alternative is to bequeath to that other a life. One gets the other sorted out. One gives then a trade or a house or some such. One therefore acquit oneself and their power over what one is in a noble gesture. This gesture this action wrests from me my power to exist in you, or rather aims at reversing the process. As I behaved nobly, as I sorted a you out, you ought to remember me kindly, and ought to start to express your gratitude to me in the stories you tell. My giving you a life therefore turns around the relation. I become the benefactor and you become the given recipient (and not the other way around). The tension that always existed between us, that is the feeling in you that you ought to be the one that is bigged up, is therefore reversed.
9)All rules dissolve ultimately what you get in the transaction (rule 4). Once you have ceased control of the process, once you have said enough This is going to be about a yourself, and not about me, my value to you becomes a matter of abstract reckoning. It becomes the pounds shilling and pence of life (el or virtual currency). You will tell then of me only as I give you some kind of dividend, only as I increase your capital. It is all now utterly about you. The tension he worry that in telling of me you are lost, is then lost in this assumption that no- actual it was about you in the first place!
10)The counter rule (rule 0). All rules thus far have ht upon the same problem, I big you up and want to assert myself in the bigging. The problem is therefore that this assertion goes against my own dignity. The I appears therefore to require others to tell nice stories about it, but needs to ensure that those nice little tales are convent to the tellers as well. I they are not then hell breaks loose, or the stories are not told. And yet there is of course another possibility. You might want to tell o me, because in the telling and in the sharing you learn more about me, and the telling actively in thinking like me enriched what you can do. You solve your problems in thinking what I would so… Your internal me is then a force within your world, a way to make others listen a power. it matter not at this point whether this element is anything about me or you. T is affective- it reaches out and beyond such distinction. M<e in you in the world. What ought then to matter in this endless blur of me and you is not whether you are making be looked good or whether I am making you look bad, but rather the unpalatable truth that what really matte I who are helped in the sort and what good it does. An unlikely truth to selfish society indeed.