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Answering our argument was the 2AC’s first mistake. Their act of criticism is just another liberal façade



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Answering our argument was the 2AC’s first mistake. Their act of criticism is just another liberal façade

Staal 2k8 (Jonas, Chapter 11 of Follow Us or Die. Eds Van Gerven Oei and Staal. “Beyond Irony” Pp 121-127)
Furtively, these same idiots have deployed their first-aid-psychology kit to dismiss the position occupied by the high school shooters as teenage angst, not realizing the fact that the true sick of mind are the ones that act without belief No belief in their own acts: no belief in acting, positioning as a deed in itself The avant-garde, the critics, have tried to smear the resistance of the high school shooters by relating it to bad family situations and the schizophrenia that the digital alter-ego in video games and other online activities would induce.
They don’t understand that it is exactly our culture, the ironic culture that is schizophrenic. They don’t understand that Dylan Klebold (1981-1999), Eric Harris (1981-1999), Cho Seung-Hui (1984-2007), Pekka Eric Auvinen (1989-2007), and Matti Juhani Saari (1986-2008) weren’t excesses of a schizophrenic culture: they were rather the ones that wanted to restore this culture.
The critics, they don’t know what a real act of resistance is. They are unaware of what it means to believe. Belief, not in result, but rather in action: in the process that the positioning toward the culture of irony actually entails. Belief in the act of ordering, this necessary intervention, the urgency this positioning demands, the elimination of any possible way back. A belief in being able to incorporate any criticism, because this act, this truly radical act of resistance cannot endure any criticism. The high school shooters have moved beyond critique or criticism, beyond the order that condemns us, artists, us, avant- garde of zombies, to each other. Auvinen and Saari visualized this impossibility to “go back,” inherent to their choice to commit their act of resistance, through simple cinematographic means. Both have taped themselves before their killing spree, exercising in respectively a forest (Auvinen), and what seems to be a shooting range in an industrial area (Saari), using the weapons they would later on employ to kill their classmates and teachers. In both cases, the camera is placed on a tripod. Auvinen and Saari stand — both clothed in a black leather jacket — in profile towards the camera and empty their weapon’s clips onto an unknown target outside the camera’s angle.


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