The repetition of certain patterns of discourse and behaviours, initially irrational, normalizes illusory ideas that become ingrained and unquestionable. A set of signs replace the boundless malleable world and become regular phenomena, and illusory values become goals worthy of sacrifice. Even an illusory language emerges rendering the defiants speechless, excommunicated and demonized. When this becomes the order, the rational and sensible become the exception, the remainder. The simple, bare rational and sensible come to appear alien, absurd, extraordinary and are rejected absolutely, unfamiliar as if from another world. Rigidity (the illusion) becomes the Ordinary. Alterity becomes an illusion beyond the ordinary: beyond illusion.

The order of the illusory occupies the horizon of the knowable and imaginable. It colonizes the world of dreams by seeping into the unconscious. Alterity is rendered reprehensible in a world in which what else is eclipsed by the opacity of what is, the real. Monotheistic realism: a theology of being that is in conflict with the variety of the human experience, the flux of reality and universes of imagination. The ontology of the absurd asks: what is, rather than what could be (imagined), and demands a fixed answer that flattens the manifold possibilities of the human condition.

Incidentally, the order of the illusory is particularly vulnerable to imagination for it is itself a fantasy. The fantasy that materialized once and for all, and claimed itself the sole one. The fantasy that knows its own illusion yet wears the guise of reality - a thin sheet that conjures within its own boundaries valleys of (rigid) dream and peaks of (strict) imagination serving its structures and reinforcing its illusions. Claiming totality while rejecting its own fragility. Dream and imagine as long as you dream this and imagine that. The absurd terrain. And what's beyond it - authentic dreaming and imagination, become unthinkable and unknowable.

Only the imaginative mind dares to wander beyond, to the edges of the human experience, to gaze upon the infinite, the else, the other. Yet, when the sole means to convey what is seen beyond is the forbidden language of poetry and art, those devoid of imagination remain blind, unable to grasp it. The free soul is depressed and alienated.

The game is enticing especially to the dullest of soles. To the mechanical spirit, the order of beyond the illusory presents itself as an unsettling realm, a multidimensional, organically growing, network of freedoms, deterring a retreat into the more familiar terrain, the rigid grid structure, in which navigation follows predetermined patterns. This retraction, inherently irrational in its contradiction to the limitless human spirit, paradoxically presents itself as the position of comfort.

The capability to even conceive of the ancient valorisation of temperance has dissipated: the detachment from dependencies, the incorruptible soul, the noble indifference, and the right to irresponsibility and human nature. A forgotten brave choice of refusal challenging the very framework of the current order of opinion Where pervasive cowardice towards genuine freedom prevails. The necessity arises to celebrate the virtues of refusal. There is a collective disdain for those who choose to morally detach, simplify, and cultivate their inner essence, to venture beyond the illusory where experience engages with the nothingness (no-thingness) lying in the bottom under veils of reality. An event destructive to the order of things. Forgotten, devalorized, demonised.

Ascetic rejection is an authentic response to the order of the illusory. A profane theory of the annihilation of the order. Profane nihilism in the order of the real. In its truest sense, rejection represents not a mere negation but the sublimation over the finite experience of the ordinary. Through this movement of renunciation, the individual negates the illusory forms of necessity and, in so doing, transcends the immediacy of conditioned existence. This negation and nihilism is not a retreat into emptiness but the exercise of a higher freedom in relation to no-thingness. The refusal of the absurd state of affairs as the experience is resistance that liberates the human condition of being and releases it to acquire a life-affirming power to be infinite in its expressions.

A rupture, a break, an intervention that shatters the continuity of submission and passive acquiescence to the monotonous sign-ruled reality. Art, not in the form that reinforces subjugation and surrender to the experiential coercion as (re)productions of the structure and its signs, but in the form of the else, the otherness or the alterity, is what it is to be, to be beyond. Art in its truest form is rejection and asceticism. Mystical, transcendental, sublimated, violent. Art as experience of multiplicity or infinity, as being infinite and infinite being. To go to the edge and come back with the else is where the violence of art lies; in its profanity - taking what belongs to the infinite, and desecrating it by placing it in the domain of the finite.

Art as experience starts with an imaginative transformation of what is into what is possible in the medium of the imaginary, projected over the domain of the physical. An experience of domain-shift in the repetitive, the normal, the rational. This is the metamorphosis of the perceived world: of language, morals and values, a stage necessary for emancipation, but also as the event that discontinues regularity and shatters signs and meanings. Here lies the liberation of the subject, for the regular itself had once been transformative before it was converted to a monotheistic realism of signs and meaning, and the experience of art is symbolic of violent atheism and the destruction of the monolith, the temple, and the (re)emergence and liberation of the obliterated idols.