Symbols of Mass Conduction

Andrew Tate, Psychotoxins and Archetypal Warfare

I should begin by making it abundantly clear that Andrew Tate is not very interesting to me except as a phenomenon. Tate, in effect, is the Mars of the moment; and to my eye, neither abominable nor particularly admirable.

However, he has become an important symbol — a mascot if you will, who represents a certain energy active in the world today. Therefore, to the extent that this energy affects the world, Andrew Tate is one of its important moving parts.

The word “mascot” derives from the French “mascotte.” In the earliest use of the term, a mascotte was a talisman or charm thought to bring good luck. It in turn derived from the Latin “masca” which could mean a witch, a spectre or a mask. The word “mascara” has the same origin.

After entering the English language, the term mascot is adopted by professional sports teams as a term for symbolic emblems (often animals) and later, costumed characters.

Consistently, the the word and those in its lineage refer to people, objects or images which symbolize something and exercise an invisible influence on worldly affairs.

The original mascot is a kind of idol or totem. It is a conductor of psychic energy — and this: conductor, is the most fitting word for the sort of mascot we’re considering. The term accurately captures both sides of the exchange. The symbolic conductor both conducts and it conducts.

It simultaneously receives an archetypal charge which it carries into the circuitry of culture and it orchestrates cultural activity on behalf of the archetype.

We may regard the brain as the conductor of the body, both conducting the electrical charges issued to it by the organs, and in turn organizing the body’s functioning. That this pattern is structurally central to the life of the human being tells me it is metaphysically fundamental.

For the sake of illustration, we can map this structure cleanly onto characters like Tate and their followers. He is that head, they are that body.

“The head and body of what?” you may ask.

A god.

Don’t be too impressed. They’re everywhere and they come and go.

A head represents an ego and a body represents the rest of the psyche. Together, this cultural accretion constitutes a sentient (though not necessarily self-aware) intelligence which functions like a mind, except its neurons are brains.

Tate is not this god himself, he is only this god’s ego, which is the most precarious of all precarious positions.

Now, the actions and interactions of these cultural conductors constitute a kind of terrestrial astrology.

When two sports teams compete, the fans of the losing team experience a significant drop in testosterone while the fans of the winning team experience a significant testosterone surge.

If you have any intuition at all, it will be self-evident that this applies to more than just sports. The mechanisms behind these hormonal shifts did not evolve for football. They evolved for war.

When Tate was arrested, I would bet a lot of money a similar effect occurred among his fans. Perhaps, that’s part of why his arrest was useful.

The death of a prophet, the marriage of a king, or the capture of a city, would certainly play with our neurophysiology in a similar manner. And the more significant the event is perceived to be, the more pronounced its effects will be.

These are the same essential principles as those discussed in my video on money. Money is also a symbolic conductor, as are the astrological planets, whose transits manipulate those forces within us which they symbolize.

This play of projected psychic forces is ritual itself, and it is what narratives are for. A movie for instance sets up a cast of symbolic conductors (called characters) and then makes them interact. These interactions comprise the story.

If these characters are “conductive” and their drama is compelling, their movements will correspondingly manipulate the mind of the audience — again, as a conductor to an orchestra.

The word “character” is derived from the Greek “kharaktēr“ which referred to a tool used for engraving; for carving into something.

This process of engraving can be very beneficial in the case of adaptive religious narratives. It can also be incredibly destructive in the cases of propaganda or art designed purely to entertain and gratify, whose symbolic patterns map poorly onto real life.

I call this: “psychotoxicity.” And the unconscious integration of such psychotoxic patterns is what causes us to fall into the Labyrinth.

When the veil is lifted, all cultural happenings whether dramatic or dull are revealed for what they really are: the machinations of the gods in their unending occult dream war, whose weapons are symbols of mass conduction.