Letter on Violence

The image of Men’s violence is legendary, but is it true?
Are men that violent as compared to women.
Are women violent?
Can they be?
Yes they can be violent. Almost to the same levels as men; except in one case.
We can examine that case later. First let us front up to men’s ‘violence in war’. The results will surprise you.

First off it can be understood that it takes ten men in logistics and support for every man at the front. So for an Army of one million only one tenth are ‘fighting men'; of those fighting men, at any one time in actual warfare conditions some are on leave, some are in reserve, some are training, some are at base camp, some are in hospital; only a few grunts are actually firing lethal rounds. Of those few it has been found, barely twenty percent actually fire ‘intending to kill’, the rest there, though as tough in training as the ‘killers’-and, in every other way support these guys, and are respected by them (for they are truly prepared to sacrifice their LIVES lady for the greater good of your filthy treacherous feminist ‘society’)- like Jesus Christ- they LAY DOWN their lives for the love of you ungrateful witches! Deserving of every privilege and honour living or dead for so doing. What woman does that? What feminist does that? Tell me.
Yet a war against ba­bies has been waged by polit­ical fem­in­ists; num­ber­ing ap­prox­im­ately ten per­cent of all cur­rent pop­u­la­tions in the West­ern hemi­spheric first world. For New Zea­l­and this means around 500,000 deaths or stat­ist­ical ab­s­cences since the fem­in­ist ideo­logy kick-star­ted its massive ef­fect on the  pop­u­la­tion eco­nomy of our coun­try. In the USA this num­ber is around 35 mil­lion since 1972. Co­in­cid­ent­ally for NZ the im­mig­ra­tion in­flows are also ex­actly this half mil­lion level since 1972. Nature ab­hors a va­cuum, so does pop­u­la­tion. Pop­u­la­tion in bio­lo­gical terms is the hive activ­ity of hu­man­ity. Eco­nom­ics also is an­other 'hive' activ­ity of hu­man­ity or pop­u­la­tion. Vast losses stem from their lost amount of life­time 'eco­nomic activ­ity' no mat­ter what it may have been. Birthrate driven growth as seen in post­war Ger­many 1947, '48 and so on- Ger­many's mir­acle eco­nomy was driven ex­actly by the dead Adolf's pre­war pro-na­t­al­ist policy. Which eco­nomic ad­visors took full ad­vant­age of. Even after dread mor­tal­ity his policy proved cor­rect.
 This essay sees hu­man­ity con­ceived of as a liv­ing bio­lo­gical or­gan­ism of pop­u­la­tion. Pop­u­la­tion and hu­man­ity-as-or­gan­ism are al­most syn­onym­ous here. Yet both rep­res­ent a pos­sible lo­gical rep­res­ent­a­tion of hu­man­ity op­er­at­ing much as some sea and ocean or­gan­isms do as a sym­bi­otic com­munity act­ing lo­gic­ally, con­sist­ently and meth­od­ic­ally- much like a 'tract­able' single or­gan­ism in con­cert with its com­pon­ents. Thus a pop­u­la­tion sens­ing an ab­sence- at­tempts, al­beit acted out 'in polit­ics', policy and dir­ec­ted fund­ing- to cor­rect the sensed im­bal­ance , via im­mig­ra­tion policy to cover con­tracon­ceived, and thus totally miss­ing, pop­u­la­tion ele­ments. Though in this case the miss­ing young are 'nom­in­ally' re­placed only by the bare num­bers. Since mi­grants are of all ages as well as cul­tures and thus have en­tirely dif­fer­ent over­all pop­u­la­tion eco­nomy ef­fects. The num­bers though, be­cause ac­cu­mu­lat­ive, even within small dec­ades of time, res­ult in very large num­bers very quickly. Thus the crisis they en­gender- though totally in­vis­ible to most- is, if you can see it or have a 'sense' of it is ex­tremely ur­gent and po­ten­tially dis­astrous. Greater than any­thing the world has ever known and so closely grabbing de­cis­ively at our heels.

The Counter Productive Rape Industry

Rap­ist Cul­ture: Or is it the rape in­dustry. For the most vo­ci­fer­ous sup­port­ers are of the view that all men are rap­ists or 'po­ten­tial' 'rap­ists' are the re­ceiv­ers of the funds this false ac­cus­a­tion cre­ates. False rape ac­cus­a­tions out­num­ber 'true' ones (based on hard data) by up to four­teen thou­sand to one: you heard cor­rect, as this web­site ex­plains. Here.

And even in the hard data: suc­cess­ful false rape ac­cus­a­tions- with real men in real pris­ons- based on this idea- that suc­cess­ful false ac­cus­a­tions post-fig­ure un­suc­cess­ful one in the same pro­por­tion of sixty per­cent right off the bat- es­pe­cially where based on no hard evid­ense ex­cept he said/she said cases; so that sixty per­cent of all so called 'rap­ists' held in gaol are there falsely too and should im­me­di­ately be re­leased. Es­pe­cially if there are no prior weapons/mug­gings/as­sault or vi­ol­ence con­vic­tions. Let these men walk en­tirely free; they have com­mit­ted no crime at all ex­cept that of being of the male gender.
Being male is, of course, a crime only pos­sible in a rad­ical les­bian fem­in­ist uni­verse. Or in a fem­in­ist mat­ri­archy. A fur­ther proof, if one is needed, that we are all liv­ing in a minor­ity elite world ruled by un­demo­cratic ideas and in­ter­na­tional so­cial­ist ma­ter­i­al­ism.  

business are now let me in one of the drawings I was painting a picture of the church that the shadow of the obelisk of falling across the Doorway of the church so as to inseminate the interior 'womb', the chamber of members inside, with 'the pagan spirit', which is the function of an obelisk, marking the shadow of the sun so here are all the objects that are wrecked her shadows going every which way and even objects that appear to be near to each other on this orthogonal claim are have shadows going in opposite directions now this is common in modern interior life but here it's an external our social civilization cultural scene is not a single the landscape is the scene of a cultural condition is the scene of our condition of society the condition of many conditions mankind and alongside the on the far left the viewers are left them below or above the head of the man are desecrated remains and are something that hard to whom all staff and also scared of the unknown warrior or soldier and the key to immediately below the scimitar five for the scimitar immediately below the one that still remains are cenotaph halfway up it is our crowned with the obvious thing a little drop of semen or man's juice war seed or call it what you will, nuclei some other name Paddy of ribbon that we nowadays associated with death with cancer or AIDS breast cancer depending on the colour so this one is a generic ribbon roughly drawn and it is reused about the last stand of the unknown construction worker and suchlike me because that's what it means is really about me in the violence that happens to men is not really about and the jet setter crew in water is about gifts that accrue to me in because they are men so this is the first outing of this kind of thinking

  fairly sure this is not at least my first masculinist painter though it's not actually a painting that I regard broken and incomplete as it appears to be as a complete work and then justify the flowers next to the ribbon are and that even the flowers have false shadows underneath them there you find some letters 1972 which is significance are no beginning date are possibly of our illegal are very tiring as abortion is right in the figure at 19 7272 being the most prominent figure that thing the killing death of Western people's began in earnest for no other peoples have been so stupid as to take it up with such ferocity though they make noises in that direction in all these inflated K the hegemony of what remains of that

Judy Chicagos 'Dinner Party' names several herstorical women
in place settings forming an Illuminati triangle; the plates however feature
 high relief depictions of female genitalia. Widely considered the 'first' feminist artwork
probably by so doing.

Western consciousness in actual fact the people themselves of other groups behave quite quite different and thus they flourish and prosper we do not but I do not want to emphasise that aspect of things it's folded in two basically a question about male death what it might be what its first outings might see what its first utterances might say what its first paintings might and basically it's the unconscionable and high levels of the men in our society has in the medical sense far far more attention to women without blaming the wearers with men is always an element of this the man's fault. The man's fault man undertakes like a liar difficult and dangerous work in order to please supply the needs of his loved ones he dies works at the risk of death because he loves is why and family and society and neighbours and at the meeting is this a network of death his is a network of sacrifice and he is a great sacrifice my fellow man and since I became a masculinist of the masculinist artists I have loved men more fully and more honorably than ever before not that I'm a great lover of them and just a lot better than I was an even when and can place them in a more proper reckoning as to their consideration

     As are functionally sexually politically and socially so-and-so for for the other two last date: the bar 1972 is a story told in the cenotaph five the double lives of the high who was a man in the pie was a European man in a multicultural society and the 555 consideration of the companionship of other eyes in the world getting on with other men other people other citizens of the country and our responsibility to the hand is just highlights I have no harm distinction against other effect they're doing far better than we are I would recommend that what they do is what we should do but I do more of the facts that European peoples once 20% of the entire planet and now they are just 8% 88% or more by 2020 and off to the top right it is a little arrow drawn to the base of a conflict of here it's like a flat and is righted eye level very well at eye level so it's kind of like the point of the whole painting where the proportion of my people's group that I belong to my proper mind people my journey my culture my civilization the civilization that I belong to this my photos happens to be the culture of the ethnicity of the society from which I spread and of course I do I love it more than other groups are not in regard to ED supremacy your ascendancy over others that we should do what other ethnic groups to an increase in numbers for we shall be 1% and we shall be powerless and we shall be slaves of others and it is our own folly that it has rendered it to ourselves and we must pay attention to that.

this is a writer must enter the law by accident than by design led by amused to have slid by a spirit and here I am a university this is a figure are an A headless heedless figure along later the global Academy that grinds on points the finger at the male penis that the male erections and needle like finger pointing with hatred fear and discuss as a wee men are an abomination upon the earth when really it's what we're doing an abomination upon the earth of the particular moment in time incident of sexuality that the entire reproductive meaning for the building of the population of the building of a country for the building of Economoia the building of a culture and ethnicity and if Notts hiding behind: this perhaps the last figure we should discuss directly above

 the penis is of a possibly figure stamping his feet and rage in a futile anger for it seems these columns of decay and declension and depopulation are unstoppable unless we radically turn things around Ellis is not the message of the painting this one way to read it and seeing my own work this is how I read that unbeknownst to myself I created this to read like that and this is the reading I give my first floor with a camera in a studio of fading light cenotaph five the dismay of a generation to generation generation the end of the world the end of the people at the end of the peoples the end of the indigenous peoples of Europe there are vaguely throughout the world lack of respect we shall attain as time goes by because of what we've done this painting is very considerably about that the death of our society Philip O'Sullivan 2014 August into the same 1914 postmortem work in expressionist work stitching work a harbinger of things to come in my word and in society and the politics of our age Philip O'Sullivan at Massey University 2014 April






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