Editorial note

on the critical majorat edition at hand.

The unlimited majorat edition at hand of the 'Society of Control' is as such legitimized by court, authorized by Permanent Press Verlag and meant to be used by all classes. It is especially dedicated, however, to the mostly young artists of the courts and the SUB courts.
This edition has again been critically checked over, and the essay 'The Peaceful Garden, the World of Beauty' by August von Langenthal included, or rather, it was kept - for it was once pulled over a limited and unlicensed pirate edition of the text intended for curators only.
With this so-called CURATOR EDITION, the facts are as follows:
The conversation between Werner von Delmont and his son Hans-Dieter demonstrably took place on March 30, 2033. In comparison to the available analogue copy, the typescript proves to be correct and complete. The original digital recording, however, remains under lock and key in the central archive of the Bund Globaler Industrie. As is customary, Werner von Delmont had to transfer all copyrights of his works to the exploitation offices of the courts upon being named court painter.
In the year 2034, and on the occasion of Delmont's first anniversary of death, the conversation was published by Permanent Press Verlag as a friend's and collector's edition of 50.
This edition was sold out within a short period of time and soon a pirate edition annotated by August von Langenthal, a so-called

CURATOR EDITION

was in circulation. This edition was limited against use by the public and only available at a high price in the former royal court book store.
Von Langenthal, a qualified restorer of old paintings, has made his way via the various SUB courts and houses, namely 'Kunstwerke™ Berlin' and 'Künstlerhaus Stuttgart Inc.', up to a value-structural major-domo of the locations Cologne and NordRhein. He henceforth utilized the pirated and copied edition to carry on intrigues at court, by discrediting Delmont, historizing him as an outcast, poet without a fatherland, etc., and questioning the authenticity of the conversation. Referring to an allegedly genuine document[1] from the '90s of the old century, he even accused Delmont of committing intellectual theft.
Langenthal's own 'critical annotations' therefore serve to repudiate Delmontian ideas and propagate a court-oriented, individualistic, and regionalistic concept of art, which he naturally utilizes - being a sub-contractor at the courts - to legitimize a genuine German culture-nation.
With this he wants to claim that a new, regionalistic nationalism [2] is necessary as a trademark for globally marketing regional, authentic and cultural production. Upon examining his text, alarming parallels can additionally be discerned to Julius Langbehn's 'Rembrandt as Educator'. It can even be proven that literal quotations were taken from the edition from 1890 .[3]
Despite the courtly affirmation of the corporate view of art, we would like to precisely carry on Langenthals's strategy of 'educative tolerance' here and not exclude his essay, but leave it in this edition for delightful entertainment as well as for study purposes. May every reasonably thinking man conscientiously decide for himself after studying text, art and society which master he wants to serve!
In view of the repressive tolerance of our corporation meta-state and its controlling bodies in the sites for investment, and bearing in mind the poverty of all classes everywhere, visible day by day, it should actually be clear - no matter where one stands - on which side one stands. Nothing further needs to be added!

'The Abuse of Power Comes as no Surprise!'[4]

This means: the rancid nobility of COIN must be dethroned anew time and time again! Only an obsequious courtier like Langenthal can desire the dominance of an individualistic and selfish taste of a chosen few fleeing the world in family tribes. The assertion of artistic individualism is not relevant in this respect; what is important, however, is to what end and against whom it is used, what public responsibility one takes on with one's artistic expressions.
Respect should therefore be given to many of our comrades, as only their unwavering character, their sincerity, and their artistically progressive critique of those in power form the true nobility of our societies.

Signed: 'The Society of Control'.
- An independent association whose profits are entirely devoted to research into truth and meaning. -
London, May 2035.

[1] cf. "Note"
[2] "...the old nation in a global costume again bursts forth as a monster" Werner von Delmont in 'Fresh Gardens, Frosty Nights'.
[3] "Rembrandt as Educator. By a German." Verlag C.L. Hirschfeld, Leipzig, 1890.
[4] Jennifer von Holzer: "Rhymes, Rhythms, Rules and Rondos", 1983

ANNOTATION
to the documentary section

The document mentioned by Langenthal from 1997/98 is proved to be authentic after thorough examination. However, it represents no secret 'lost manuscrypt', but the documentation of an interview conducted in 1997, which was published in 'Dagegen, Dabei', a booklet by Cellar's publishing house, Hamburg, 1998. The very document is now reprinted for the first time and as an appendix to this edition at hand.
It is also worth noting that it was not about 'stealing ideas' as the curatorial practise of the corporate henchmen in the 1990s perhaps suggested, the relation between Stephan Dillemuth and Werner von Delmont was, moreover, quite sincere. Therefore it can be assumed that both elaborated the first ideas of a Corporate Rokoko together.

After the turn of the century and the second wave of culturalisation, it came to the self-assertion of Those Of Langenthal and thus to further exile movements and foundations of secret societies which were aimed at keeping the flame of resistance burning in obscurity and against the culturalisation of life. Later, the COIN was to reattain the critical minds, after the minions of the Court became too obtrusive.

Following the financial ruin of his London cellar theatre 'The Brecht & Cruikshank Shnitzel Shanke, Jazz- and Ratingerhof -Keller, Original Imbiss- and Spaghetti-House', Dillemuth's traces were lost in the turmoil of 2017/18, allegedly as a treasurer of a 'neo-economistic and post-communitarian project' in former Namibia, or, according to other rumours, as a wirepuller of a non-verifiable 'Invisible Lodge'.

After the disappearance of his friend and brother in arms and in contrast to him, Werner of Delmont was appointed 'Auctor, Paintor & Purveyor of the Court' and since then strengthened, as coordinator and envoy, the cultural (and political) influence of the differentiated Fractal Societies at Court.

When the original text was printed in 1998, the English footnotes were used by accident. As we are strictly committed to the original, we have decided to keep the footnotes as we found them and not to translate them into German.

The illustrations are woodcuts of objects discovered at an illegal refuse disposal site in the winter of 1997. Confiscated by the police, they were later identified as discotheque decorations which Delmont had created for the Smartbar in Chicago in 1987.

Next to a so-called 'flyer' of a planned publication from 1998, we additionally show several drawings by the young Hans-Dieter, which were found on the walls of Delmont's studio.
It is surprising to see how early the son's talent was already evident, a talent which was, however, to become superimposed by his interest in business management during the course of the years.