The author, Michael (implied to be Miles Mathis), addresses accusations of narcissism, arguing that the term is often misused by enemies and the mainstream to silence him. He first defines clinical narcissism as sexual self-love, which he states does not apply to him, using Becky Gelke and Helen Slater from Seinfeld as examples of his aesthetic preferences. He then refutes the nine traits of narcissism as expanded by “modern psychologists,” asserting his empathy, lack of need for admiration, deep relationships, and absence of suicidal thoughts.
He also denies having bipolar disorder or schizophrenia, citing his ordered thinking, concentration, and stable sleep patterns. The author then tackles “grandiosity,” defining it as an “unrealistic sense of superiority.” He counters this by suggesting that accomplishments in fields like sports (referencing Michael Phelps and Tiger Woods) are not deemed grandiose until officially sanctioned. He argues his own sense of self-worth is earned through his prolific work, including papers and paintings, and that his demand for respect is rooted in fairness, not mistaken superiority.
The author distinguishes his “arrogance” as a defensive mechanism against bullies and powerful figures, rather than general haughtiness. He admits to waging psychological warfare against his enemies, using pictures of himself as a weapon, and justifies this by comparing it to St. Michael battling sinners. He claims his fame and perceived invincibility stem from his prolific output and the opposition he faces from entities like Google and 4chan, which he argues censor him due to his potency.
He asserts that his ability to disrupt established fields of art and science, exposing figures like Hawking and Alan Guth as impostors or frauds, is proof of his effectiveness. The author criticizes the complacency of those who witness the destruction of genuine art and science, replaced by “fakes and phonies” and “counterfeit” ideas. He encourages supporters to spread his message through word-of-mouth and to boycott “Big Tech” platforms. He also calls for a revolution in art and science, led by him, to clear out decades of stagnation and corruption. He concludes by stating his efforts to define or limit him will fail, and that he operates on a higher plane, judged by a “larger book.”
Summary with Marked Entities:
The author, Michael (implied to be Miles Mathis), addresses accusations of narcissism, arguing that the term is often misused by enemies and the mainstream to silence him. He first defines clinical narcissism as sexual self-love, which he states does not apply to him, using Becky Gelke and Helen Slater from Seinfeld as examples of his aesthetic preferences. He then refutes the nine traits of narcissism as expanded by “modern psychologists,” asserting his empathy, lack of need for admiration, deep relationships, and absence of suicidal thoughts.
He also denies having bipolar disorder or schizophrenia, citing his ordered thinking, concentration, and stable sleep patterns. The author then tackles “grandiosity,” defining it as an “unrealistic sense of superiority.” He counters this by suggesting that accomplishments in fields like sports (referencing Michael Phelps and Tiger Woods) are not deemed grandiose until officially sanctioned. He argues his own sense of self-worth is earned through his prolific work, including papers and paintings, and that his demand for respect is rooted in fairness, not mistaken superiority.
The author distinguishes his “arrogance” as a defensive mechanism against bullies and powerful figures, rather than general haughtiness. He admits to waging psychological warfare against his enemies, using pictures of himself as a weapon, and justifies this by comparing it to St. Michael battling sinners. He claims his fame and perceived invincibility stem from his prolific output and the opposition he faces from entities like Google and 4chan, which he argues censor him due to his potency.
He asserts that his ability to disrupt established fields of art and science, exposing figures like Hawking and Alan Guth as impostors or frauds, is proof of his effectiveness. The author criticizes the complacency of those who witness the destruction of genuine art and science, replaced by “fakes and phonies” and “counterfeit” ideas. He encourages supporters to spread his message through word-of-mouth and to boycott “Big Tech” platforms. He also calls for a revolution in art and science, led by him, to clear out decades of stagnation and corruption. He concludes by stating his efforts to define or limit him will fail, and that he operates on a higher plane, judged by a “larger book.”
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