(The 2016 Plainmeld)
Upon discovering comic books leftover by G.I.s, the Japanese standardized the medium into one style to rule them all, then started animating it. While they're not cutting the heads off of Chinese people they call us in the west barbarians because we eat beef and don't kneel when pouring tea. Anime developed from Japanese foundations, inherently more effeminate than those of the west, making it alien to young men approaching it from their own environment.
See now that a good proportion of weebs are young men, who are attracted to media which looks like its targeted towards girls. Even as they maintain confidence in their anime review channels, there's still an opening for attacks from patriarchs and other masculine agents. As anime became more popular in the west during the noughties, nearing towards settling within a mainstream status, weebs needed an angle of maintaining at least a modicum of potential towards masculine integrity were they to continue their niche, lest they continue falling in with furries and bronies as subcultures allegeable for cringe compilations.
Self pity sells to a generation ailed by overstimulation induced depression from phone use and porn addiction.
Everything changed after 2016, all from movies to video games to culture in general. Two starkly different cultures, anime and western media had synthesized in a delirium of submission within the great cultural Plainmeld of 2016. Anime changed from innocently cringey geek feed to generic tastes in women simultaneous with self pity siting depression.
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In 2016 a new pantheon of aesthetics was established on behalf of Mass, with Mumble-Rap feeding millennial youth's aggressive aspect and Lofi pampering its passive.
Burst
The next aesthetic pantheon will be based upon tangible action in relation to political upheaval. There will be further withdrawal from the professionality of establishment forms, as professionality has failed; people will embrace cynicism toward a new mode of hostility. That cynicism against former advertising colors, amid frustration will detect those directions compatible with it in biting colors. Unlike the colors of passive morality, these colors will exist in context to the harshness of reality, dark backdrops, which incidentally make colors pop, substantiating the consistency between visual theory and life's carnal aspects, when continued to their full ignition—for life's ecstatic surges are intrinsic to the overcoming of danger and wielding of danger against descending agents. Enticement will be realigned with a danger undeniable, heightened by the collapse of dismantled cultural dogmas. This vein will belong only to those who oppose the system, and especially those contributing tangible damage through media. The rest will hold onto dying forms, and those normies teetering on the edge of danger will side with the fiercest momentum, even if they can not understand it. The zeitgeist will comprise of the average between this energy and mainstream facets attempting to tap into it, struggling to do so as far as its values run diametrically counter.
I gauge this development as a chemical reaction; the most logical outcome relative to what has come before. The idols of the 2000s failed because their forms did not align with the flow of meaningful reality, petrifying where they stood, allegeable only as nostalgia; what came after aligned itself with a flow of change, however hated and vulnerable in its naivety. The normies were indifferent to it; however, it was catered in design to conformists, the midwit commissars of social society, smart enough to declare Formus but not sensitive enough to prefer one coherent with carnal humors. It belongs to those who can stand it, either in apathy or preference, but the next market not belong to them. What we have now is based upon repression, compounded by psyops circling back into repression, as I will showcase. The coming Formus is frustration Burst and will ride though the busting of many cherries. Its details will be won by the most prolific and politically adept savages.
Anthropology of
the first Plainmeld
Let me explain some logic to you. Any advanced civilization to have gotten so far needs a way of managing human impulses. Destruction and conquest are great drives, but belong only to an individual so daring. Cohesion requires mutual cooperation, settled in small towns and villages where everyone knows each other, and each with their consequences if ever to conduct unprovoked warfare. This environment does not spell that sex and violence be absent. These red emotions always need an outlet. Different tribes in their development have found systems of managing them to points sustainable.
Britain was a Christian civilization, or a liberal civilization as modern proponents of British values will tell you. The ultimate reality of either claim is a history of snide torment and dysfunction, all throughout the growth of the great complex. The standards of Christianity only exist as official padding in between unofficial occurrences of a repressed and selfish population. That narcissism has not fertile ground to mature in a Germanic war band, where the carnal aspects of life are familiar, and the only morality is loyalty to the tribe. The English however are not cut from that cloth, not Anglo Saxon, but the buck-broken remnants of Celt-Germanics directed by a foreign duchy after the last Germans had been massacred up north. From the grounds of such heritage, the British Celt-Germanic has not the moral integrity of an ancestral tribe to uphold, but the jurisdiction of an appointed authority, whoever it may be. On behalf of bankers the Celt-Germanic civilization stretched to conquer what remained of an under developed globe, later the Americas. The real life Pocahontas was raped and impregnated by English sailors on her voyage to Europe, where one Disney prince would take cover for the crew as a would-be father—all under a Christian banner, and conduct of a crew surely bound for hell by that lore. The significance of this is that the Christianity of the English is about as sincere as that of a small village, or any society which believes itself to have rejected sex and war from the human psyche. If not mild pornography to release tension, hosts are drawn to commit the occasional local atrocity; BTK comes to mind. The most corrupt and prime example to have spread and pulsated so far is the Celt-Germanic band under the sign of the red cross. Their ancestors, the wild Celts drove straight into war against their Mediterranean neighbors, with the physiques to do so. The shrewd pragmatism of Greeks and Romans retaliated to quell this. Meanwhile Celtic women would relish sexual freedom where the roman woman, in high society, could not. Consider as they did, the Celts riding around at first ability to burn off adrenalin, breeding freely as fellows under the same language—inhabitants of the hills and plains of central Europe, with no reason to commit to anything more. Another tribe, who hailed from the North were under stricter conditions. The Germanics came down from Sweden, a place too cold for individual expression, and into a place too hostile to cool off from that instinct. Nature’s safeguard for securing self preservation is pain, or the evasion of pain and destruction unto competitors. It is only recently that intelligent life has learned to prize universal security as a value. Human rights are a western liberal construct, whereas the immediate nature of selection is hostile. The Germanics were, from their origin, one with this in a way the Celts never had to be. Through their concentrated exposure to a frozen climate, Germans were granted the cohesion to persist amidst the factions of central Europe, then throughout, made apt to the arts of war to a capability beyond others. The German is warrior within the very fabric of internal confrontation, choosing to front harsh truths where the Anglo would deny them to indulge off the record later; hardier then those who would disengage from hardship, and more noble then the thug who belongs to it.
German and English attitudes towards the carnal are two strategies which would settle in America. English morality is either completely degenerate and hostile or strictly rigid, depending on what the individual is allowed. As soon as the chips are down, English people will certainly eat each other; in states of weakness, they must hold onto moral authority as a crutch. Rednecks rape and torment, and the descendants of cohesive homesteaders are impotent in their prudence; but the coming inflow, the sheer weight of Germanic blood on the frontier would distinguish America from Britain. The struggle between the two strategies would remain yet to be Scene.
After the 80s, edge changed flavors from patriotism to disillusionment. Oneness with carnal aspects became illustrious after a decade of family sitcoms, and even before that tired decade was through, the Simpsons debuted in 89. These forms settled a consciousness of hostilities into mundane thought, as the spiritual German is to his surroundings. It feels good to keep all potential hostilities close where you can see them, hence the time’s concentration of chiaroscuro as a common motif. The factor separating this mentality from dry stoicism was humor. Heidegger’s said that his best advice for young people was to spend time in graveyards. What he meant was, you only have to do this life thing for 80 or so years, so don't take it too seriously, and you might as well do something interesting for the fun of it. The presence of an ego's consciousness is not too different from the absence there-of, anyway. For the Zoomers it’s the opposite: “my comfort is precious,” hence Lofi; “my identity is precious,” gender politics, or even clasping onto identical aesthetic genres, music or fetish identities with self importance. Before, the sign was thrashing, and whatever happened happened—fortunately for the time, in a way descended from Germanic foundations, women painting their eyes black like their Viking ancestors and naming themselves after the Goths of antiquity.
The generation's psyche was more at balance with hardship and lust, impervious to adversity, with aspects of the time’s culture serving reference for how to do so. The world is hostile, as is made clear to the introspective mind. However a population’s consciousness to the many pathogens of life is not lucrative for parasitic elites who sap wealth through their host’s suffering. When convention is the default, sin is a product to be sold in contrast. With people unfazed by the carnal, the conditions for that market were restricted.
Before sin could once more become a gimmick, standards would need be withdrawn from darkness and back into the passive-side of Christian morality which edgy kids had once rejected. The female form was withdrawn from hardy stature to a skinny anime doll as a default, as the product gimmick of women as sin would come elsewhere, incognito. For this, imprints of a foreign construct were employed unto a western audience.
The Japanese have a similar method to the English. Where the western tradition around sex is to have solid standards of professionalism from which decadence may arise on the ground level, the Japanese tradition is to have in-high-regard this clean elegance, then obsessively rut in withdrawal from it. They may idolise a well dressed anime boy as a vision of strength, but the true power of a Japanese person is the physiognomy of a Yakuza, akin to European construction workers. Nevertheless, their standard is elegance, as is etiquette to the English.
They used to view us, namely Americans, as barbarians for being so rough around the edges on the ground-level. Now we’ve adopted their sense of prudence from which withdrawal is indulged. They think it’s the funniest thing in the world that someone say ara ara, or lewd. It used to be that one of the archetypes they make up would say, “It’s not like I like you or anything, and it was supposed to be cute, but now it’s immediately applied to pornography, drawn in that Chinese style which prizes elegance—visual antithesis to the use of contrast by tight-nit darkness in pre Plainmeld forms. The young have adopted a foreign sense of prudence from which withdrawal is indulged. Veterans of Newgrounds era edge and its prior forms cannot complain lest they be prudent. The Zoomer teen is christian with Lofi and soft anime, then provided the chance to grease his or her labido with an inflated degree of the girls in their highschool romance.
All of a sudden people make videos gawking at Chun Li’s legs, as if she didn’t look like that in every other game. If people have to tweet as soon as they see a well defined female figure, guess what, the mid 2000s were already like that, even in kids’ shows.
Pre-Plainmeld Artefacts:
We had a kingdom, a construct by which to detect the carnal aspects of life; it was steamrolled by an intonational empire and set back to prudence, so they could provide their sin as a product. Don’t act surprized when a woman is well drawn from the old era, instead of either a flat doll or the same doll with a tit job.
These images in human culture are references for upcoming men and women by which to understand the world with a feeling. So what reference are kids provided with now..?
(Modern Outlets for Carnal Humors) Youtube Channels:
Sylle
skipos
Lord Ray
Solus Astorias
Cougar macdowall Va
Demon Dub
Sasha's Castle
crystal blitz
jakcalackin
Mari
Merryweather Media
Bread-N-Butter
ComicKatze
Memic
corngak
Chris Oakland
Dangoheart Animation
Synetik
MrBrauza
Cribble Animation
Doggord
skippy
CrownieDubs BL
susu_jpg (quirky girl)
MamaYunya (asmr)
By extension, Billie Eilash doesn’t understand how the female body works, (or worked) having to wear kitsch lingerie as if it’s a daring statement because she’s thick. In the past she would just dress nicely and have a hot body. Now, if not flat, she is drawn by Zoomer eyes in comparison to the physiques of hentai mommies, and not just an attractive young woman, as any depicted in 2000s pop culture. Why can’t a civilization consist of hardy warriors. Why instead is it dictated by impotent priests, then present of shameful violence throughout eventual conquest. The answer is that, warriors are immune to parasitism, and the weight of nature remains on the side of parasites so long as the money is good. The cynical forms of the 90s and 2000s were cultural references for a radical generation to make sense of the world. Imperial descent was undertaken against these forms—a story as old as Troy and the Norman conquest, Comanches absorbing the last of introspective tribes and Mongols against the Rus'. The hottest and last of the Germans burn out and are left to the royal minions of an international weight. What’s left come the execution of the last renegade is an easy disorientation, settled to make sure no expression ever reach the same concentration as to so undermine parasitism.
German made it its business to front the harder truths of life, including constructs of degeneracy, but also war and sex as it is; not to indulge promiscuity, but see the bare female form, with physical health and shape as a reference point.
Now there is no reference point other then that all instances of the carnal are a sin, wether purchased or abstained from. Within this state of play, castrated of their prime advantage, Germans are left to scamper as a byproduct of the 21st century, or easy pickings for shrewder races.
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The last of the Scene girls either became feminists to maintain conservatism from E-Slut forms succeeding the quirky girl archetype, or dropped pop culture and make up all together as neutrals, maybe even to think about the old days.
Scene could not have lasted forever. Instead of adapting in its spirit, it was replaced by another, spawning what would follow in Onlyfans and mumblerap; it stagnated, ending with Alyssa Bustamante, whose outlet for pain was Emo. We know she wasn’t faking it because she killed someone. Even so, Scene is inherently innocent in a way modern Japanese cum face on Tik-Tok isn’t.
Scene’s interpretation of Goth had an underlying preference in romance over free-love liberalism, as belongs to the usurper. One of those was hanging off of X’s chest when he filmed his groupie; this is how we got from Daria to Belle Delphine; as crazy as it might sound in retrospect, that’s what happened. However, E-Girl is as lavish and hedonistic as it is edgy. This can be replaced by a return to old edge, which is rooted in morality in war and sex. Wit, true wit is anchored by meaning, which is what the degenerates couldn’t understand as they tried to channel it. An investment in pleasure leads ultimately to the adamant purity of that pleasure. It is the charisma of the occasional pimp, but never one to pioneer or shake things up as can a moral code. Anglo niggas will call Germans prudes, while channeling the Sex Pistols, but then shriek in distress because Krauts had skulls on their hats during the wars.
All you have to do is compare what we've achieved, then interpret which spiritual attitude means what between the Anglo and German legacies. Our swag is the smoothest, and we ran through the 2000s. Though Scene could not know it, this was the case of its customs. The significance of its world-feeling was its settled peace with sex and hostility. Although rare to occur, it was not the first instance in America’s culture of the dark balance. This may explain why New York is so radically tamed and modernistic from what it was during the prohibition era, for the same balance had once settled there.
The third tribe to settle America were descendants of Rome, interpreted as the Great Whore of Babylon by the Jews. Somewhere between the elite of ancient bloodlines and mildly connected plebs lies the Roman instinct within play of the human environment. Where the German is prudent, or even the wily Celt, Rome is eternally dynamic to the demand for prostitution and murder. There could never be a BTK as there was in Kansas, for as a deviant he impressed upon the moral sensitivities of an Anglo-American environment, and the Mafia sought to kill the Son of Sam who terrorized their neighborhoods. In early New York, pressure was tight nit, and a degenerate or thrill killer is not dissimilar in veracity to competitors in crime, business or reputation. Roman Catholicism is there to maintain cohesion, but permit sin necessary to the lives of intelligent go-getters, offering forgiveness for profit like a true shyster close to a god representative of human inevitability.
No Italian was naive enough to fall for Scene, as the last of its form would soon become fuel to the coming aesthetic generation. The German mind is one with struggle, the Italian with sin, the Celt with whatever the laws of authority condition. The question is, which one wins out. Since they haven’t had their own swag since the mob era, and dodged Germanic forms like a bullet, I have to say that if there is any hope for darkness, it lies in Rome.
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Concerning
Normies
For a society to function, cooperation between its units must endure, and in order for mutual cooperation to be maintained, a society's members must be of a generally compatible mindset. To have every ant on the face of the earth an opinion pointing in its own unique direction is to have a colony without collective movement. For this reason it is standard that a society's majority lack the ability to harbor interests originating from unique and organic internal preference; instead, the average man is programmed by nature to be preferentially accustomed not to what they favor by a self understood appreciation but to what is signaled to be popular or safe for discussion—this way, whatever happens to be mainstream can be programmed in the interest of the inherently indifferent masses, guiding collectives towards whatever those who implement such interests see fit, be this for the welfare of society or corporations looking to make profit. What's important to understand is that the average dredge does not analyze via personal or inherent preference but by interchangeable signifiers understood as objects of consumption—behavior similar to that of a robot analyzing code. Code cannot be measured by quality through meaning, only by quantity or mass. Like all indulgences, junk food is designed to be consumed in mass—as is the nature of candies like Skittles or M&M’s. There are two ways of eating a bag of M&M’s: one is to pick them out one by one, savoring each individual bite and contemplating its flavor and form; on the other hand there are those whose nature it is to pursue the consumption of the bag without focus or regard for each individual M&M. For them, more is required to maintain satisfaction as consumption progresses. In the early stages of this process the objective of consumption becomes not a single M&M but two consumed simultaneously, forming a new signifier of consumption; this signifier of consumption is consumed simultaneously with two more M&M's, creating one greater; this continues until the same satisfaction which could have been obtained from one M&M is only sufficed within the consumption of the whole bag—and by the time the whole bag is a signifier of consumption, over 200 individual M&M's can be consumed without taste or acknowledgement.
Eating an M&M with a Skittle cancels out the merits of either factor, as does mixing two aesthetic attributes, but it isn’t the M&M or the skittle which people are interested in.
Imprints of Mass
If you really want to categorize forms, you have to detect the route feeling from which they spawn. For instance, Zoomer chic negates Scene by the shift of a generation's mood, as art began to cater to the sensitive humors of the weak.
Scene-Crunk and Emo are common in their similarity as retrospective products of their time. So if the trivialities of different contemporary categories are void, then what is the common trend of Zoomer chic from prior generations. It’s the Millennial Blur, the thing people operate from within while trying to distinguish artsy from dark. Either way girls still wear high-pants and a crop top, something distinct from prior generations, and a sterile withdrawal from the swagger of the 2000s.
The purpose of Dual Stimulation is to eliminate any potentially insufficient forms by cancelling out the merits of two attributes in their melting, reducing both to an object of consumption which can be measured by quantity's value. Such content is not to be experienced, but pursued as a signifier of fulfilment. The imprints of Mass’s monotone nature manifest in the visuals of its cultural conquest through aesthetic trends like Lofi, but similar examples can be traced back prior to the cultural Plainmeld of 2016.
Dual Stimulation
(Music for NPCs)
Something you’ll notice in a lot of modern aesthetics is dissonance. What people call Lofi is marketed as a genre of music to relax to. It’s muffled noise with dry pinks, but its contradiction is in the name: Lofi Hip Hop. In Lofi, notes may mildly swell but to run by sharp and repetitive ticking as a beat. This starkly compromises any passive aspect, maintaining a relentless concentration of tapping, however not so far as to establish an energetic flow as the music maintains one foot within the stimulation of a passive drone. Simultaneous flows cancel out the sensation of either. It isn’t music for punks or bohemians, it’s for people who don’t have a creed either way. For them, any general noise will suffice. It’s a lack of feeling which tolerates the melding of respective stimuli, an inability even to taste the sensation of either: music for psychopaths. This becomes apt when you consider Lofi’s history.
Solum music used to the introspective. It was something to be manifested only to its occasional but full extent.
You can’t streamline real emotion for ten hours on Youtube.
Can two Lofi songs really be distinguished from one another, or do they collectively melt into a flat blur? An ambiguous tone in sleek preservation keeps strictly between the lines of musical exertion and contemplation, non-emergent to recognize either flow, but monotonously running. lofi isn’t too solum, or too casual; whatever it is it drones on for a while to provide its evidence as a music genre.
Lofi's aesthetic saturated by shades of pink, a color which even in softer hues draws ultimately from red. Instead of applying a passive color, it takes one of intensity and reduces it to its most passive form. The color of the millennial era is purple, let alone for its prominence in advertising.
Metaesthetics
The autistic mind of egalitarian boy lover Plato could only endure that forms exist according to the conditions of a nuanced environment—for that play is harder to quantify, and easier for dynamic thought as Aristotle's to ride with; instead he started with forms and tried to work his way back from them: If forms aren't just the results of external requirements, then there must be hypothetically perfect versions from which accidental biproducts exist, so he thought. I would ask him what the quintessential, or original woman looks like. Not only does such a thing not exist, but such binary determination isn't how humans process feelings of affection.
Perfect forms do not exist in ethereal space; what exists in ethereal space is the capacity of things in each moment, where ever they are, to fit the demands of environmental pressure. So in reacting to something you are attracted to, you are not snapped back into a static process. Each detail of circumstance is internalized according to what dangers and or progressions may exist. Value will have meaning relative to environmental timing; the anchor point is the overall capacity to progress effectively amid change. The reason humans look different from place to place is because of this selection. God did not create an original prototype of each race like in a video game. Human diversity isn't binary; it is gradually distinguished via the clustering of many values, with gradients ranging in their effectiveness, but all serving the same purpose in reaction to the elements. These values are not a statue standardizing what all women should look like, they are veins of commonality which reach across populations, to which the average example may be gauged to create a general image of, not what is ideal, but an example of what is reliable in the human experience. You don't want something or someone who is the one; what you want is something worthy of being exclaimed 'nice'. That is more valuable than any idol. You have an interest which you aim for; your actions retrospectively cluster in a proximity closer to that interest; not every action is dead center, because they don't need to be. This is called momentum, and its what all great movements have ever developed by. The battle for life, as it is with all other trends, does not rely on a single victory or defeat, but the mean between defeats and victories, which eugenically rewards the most consistently triumphant methods. Nothing which makes it does so for any other reason than its weight in collective victories, which is why life is a constant grind. Life can be sustained as far as it can compete with death, which is typically manifested in the survival of opposing life.
People say you can't prove something is beautiful because everything is subjective, but that doesn't make any sense. If we agree that death is to be avoided, I can point out that the features of a healthy face are consistent across women, admittedly specific to what their native environment rewards, in accordance with selection pressures. The same can be applied to culture and community; you can detect an entire race, their ways, their signs, just from the sight of a face, as the brain lights up like a constellation to sense extended context. The same effect occurs throughout the process of perceiving other signs; it is how people recognize the familiar, and why John Lennon's nightmare will never be a reality; diversity prevails.
The way people process information is by internally comparing it to other information and drawing connections between reoccurring features. This way you don't have to calculate consistencies manually like Plato; it's encoded in the psyche as intuition. When people with high pattern recognition look at something they like, intuition detects consistent features across lines of environmental selection, which even if not perfect in any one instance, can be felt as far as their extended purpose. The Formus, or Metaesthetic, is the channel between different instances of service to the same demand, illuminating a context to evidence why and how they exist, then how they can be continued. If you become self aware of this, you won't be able to experience media without detecting many of these veins.
Different types of people differ in which comparisons they draw between to integrate instinct. Supposing the theory that power structures condition trains of thought in tandem with their own preservation, it makes sense that those belonging to the herd develop instincts coherent with efficient advertising agents, wires crossing between visual cues, not necessarily compatible with common channels in nature. I immediately think of the angle which girls use to make themselves look more statuesque, while perching their lips. The resonance of lips and a stiff neck fixed to a certain point is not appealing to me, because my mind is only occupied with filling in the the blanks of how the person is in movement, day to day; it feels blue balling to see women assume a restricted expression, just to pathetically make their lips look slightly bigger.
The reason I hate modern makeup is because it's not designed to emphasize movement; in fact in a dynamic environment it probably melts off easier. With older styles, it doesn't really matter, because the lining is broad and vague anyway, and will basically maintain the same signal.
Static photographs may serve normies as visual cues, but visual cues are dead images, with no tap into the channel of how what they signify actually interacts with the world. Some may have at one point extended from a capacity, for capacity generates different outputs as long as they are live, but this is not necessary for masses of people who can't detect pattern recognition. Nothing in nature is binary except for human attempts at thought. Religious concepts of right and wrong are manifestations of this. In art, normies apply the same weary methods upon individual tasks, as apposed to generating through the continuation of veins. They don't sense any gradient; they only see an image which produces a carbon copy. The problem with recalling carbon copies exclusively is that when you try to apply it to art everything begins to look out of place.
People who get plastic surgery suffer from the same mentality, making calculated decisions on different specific aspects, but unable to sense something in its entirety; they can never see the bigger picture.
The method by which a real artist draws a beautiful woman is perennial with the same method which mother nature used to condition beautiful women into existence, anticipation throughout channels of reality adhering to health.
I would make the argument that a certain people who have historically imbedded themselves in other cultures are incapable of channeling their own organic veins due to their duel identity. They can't tap into the channel of western beauty because they do not belong to them other than in admixture, this being why their features often look weird and out of sync.
All they can do is emphasize bits and pieces from western beauty standards, however not so far as to reject their own traits in favor of those foreign, given their Germanic origin. Their actual phenotypes look either like Ben Shapiro or Netenyahu:
...which is harder to sell or be proud of in a narrative sense. They are forever trapped in a limbo between being authentic but too ugly to be likable, and mimicking the traits of their historical antithesis, to maintain even bearable PR.
If you look at films set in the 50s you’ll notice that everything tends to be integrated. When you have a patron spirit (or quality) guiding culture, all aspects of life, even in their differences flow from the one spirit, generally blending in with one another. They’re different but within the same plain of feeling.
Later in the 60s you start to see these ugly as fuck aesthetics on album covers, and of course in furniture. What happened here was the capacity to spirit (quality) being taken over by the capacity to signals (quantity).
Logic operates through signals: people need houses: here is a grey box; people also need a source of fun: here is a zany lamp. The problem is that once respective aspects are severed from an encompassing flow, you can still only vibe to the quirky design of the lamp within the grey landscape of reality. The realms are separate. Before the 60s, the vibe would have extended from the mundane and into the receptacles of spirit, which is art—this is because for the time, the spirit was present even within the trivialities of the mundane. Film Noir carried itself as an ode to the mundane—disillusioned, raw, down to earth, the grimy streets—but even then, that feeling extended from the gutters and up into the head offices of city officials, as you tend to see within the genre. A working stiff in a smoky New York bar may not have known that he was part of what would later be a cherished aesthetic to coming generations without their own patron World-Feeling. For us everything is separate; separately produced and separately consumed by separate modes of stimulation. When you’re operating with signals it’s the only way you can continue society, applying separate attentions to each factor, hence the dissonance between the aspects of life, and general sense of feeling lost. A robot cannot bear the intellect to relate different aspects of life to one another. We see this happen with anime. The weary joke of meme-queens is that the aesthetic be placed somehow within the context of earthly circumstance. There has to be a separation, glossed over in "self aware," but eternally necessary irony, for they would not know how to stand without it.
It has to exist in contrast to reality, otherwise it couldn’t be sold as a gimmick. Sex, beauty, war, music and the very concept of the aesthetic itself become natured as products—hence people refer to millennial fashion by the moniker A E S T H E T I C, an A E S T H E T I C within life, and not the overall visual effect of life.
It’s an A E S T H E T I C, a product. Today the 60s style comes off kitsch, grimy and primitive, however the aura of the 50s seems closer to futurism then anything those crappy Star Trek sets could ever display.
Namely because the style of the 50s was one with the darkness, so didn’t have much to lose in contrast to the elements as did the 60s. A green glassy lamp on a table serves as a motif like a broken bottle on a sidewalk. The wood of the table itself is closer to the organic. Having in its place, sleek colorful plastic is a disconnect from the elements of reality. This was the first indicator that feeling had shifted from spirit to rootless consumerism.
Similarly if we look at something like TF2, you’ll notice color consistency and stylisation; no character is too complex and you can get the point: this is the southern engineer, this is the slicker french guy. I can name every character from that game having never played it by merit of its personality alone. I could not tell you how many Overwatch characters there are, let alone what their names are, and I find it hard to visually distinguish the game from Apex Legends or Valorant.
As far as I’m concerned all of their characters just look like Tumblr bloggers or male gay Instagram models. There isn’t really any color contrast or consistency in any of those games. It’s usually just different placements of purple or turquoise, and the character designs are so complex anyway that you can’t really attribute a color scheme to them. All these sloppy clusterfucks ever amount to is another soulless blur. Every map looks the same, every character, every game for that matter.
Under Mass’s jurisdiction, everything has a set quintessential form fit for an appropriate efficiency; to all fields, a final form must be defined. The problem with this flow of production and its will to logic is that no two aspects of any form can be integrated as of a whole, since they can only be standardized separately. Predetermined routines develop quicker in all fields, running like an episode of Family Guy wherein cutaway gags are slotted amidst its run-time; whatever minimum number of separately developed jokes required to keep the audience from leaving will be implemented. The gags themselves will be selected randomly and exist irrespective of the episode synopsis; they may be used interchangeably between seasons and do not exist of any rhythm, instead a separate internalisation is withdrawn from different modules under the label of a single form; never of a whole, but divided and held together.
To exemplify this in practice: in defining a model of woman forged to stimulate feeders upon brands like Samsung, there is first developed a face, asian enough as not to intimidate such men, then defaulted within a soft, blurry Pixar aesthetic; a flat bust is necessary that the same flatness of form be maintained and increased by quantity—as is Mass’s chief measurement of value.
As a symptom, women in particular will have a range of different aspects to develop, like skill sets in a video game—however, obsessive makeup shall be of a separate field to its neighbours. Quality becomes less of form but the quantity of how much detail you can apply with flakey oil to a face, resulting in this flat sort of blurry visual aura in all things.
Then, all anatomy below the neck is to be complimented separately, as is the alien influence of anime; a yoga outfit will form with plain accuracy to physique without stylistic extension—such anatomy is to be presented formally and in separation from the head, like a measurement of signified worth presented to men as a credential on a CV.
All is made logical and quicker to a point, the point is “worth”; worth is not considered in retrospect after having actually been generated from something; instead “worth” itself is prioritized as an object to be pursued, whatever it manifests. You will not fall in love with someone or something, but fall in love with "love" itself as an undefinable output made object of pursuit.
The Zoomer World-Feeling
and its Prime-Symbol
Aesthetic trends are in all facets the advertising vehicles of different ways of life; different flows, or World-Feelings as Spengler put it. Any World-Feeling expresses itself through the outputs of what it leaves behind. Spengler called these expressions Prime-Symbols. A spirit's Prime-Symbol can also serve as a reflection of the very inner movement of its patron going. Trends can operate through the strategies of quality or quantity—in biology people call it R (quantity) and K (quality) selection. For modern man, if quality is experience then quantity is the growth of metrics non-conducive to greater [if any] experience at all, in exchange for their advantage to spread quicker. The spirit of Millennial man is the lordship of this feeling-less quantity—the great mass; great nothing. The zeitgeist of the age is warm confusion—disorientation; displacement; fatigue—from this is dispensed its Prime-Symbol, what we may call the Millennial Blur.
This is the nature of Becoming made visual, in all its even, statically flat non-substance. As with all spirits, the principle at hand commands most visibly throughout the greater passions of man. Show me a civilization's feeling in women and I will show you the inner fabric of its soul—it will forecast all other tendencies of life-operation. For 20th century antiquity, and even up into the mid 2000s, the striking points of the feminine form contrasted themselves as that from that where it is not. Just look at Makeup.
In the past, any feminine feature to strike men struck with apparent sharpness; effect is the definition of form from lack-there-of. It is that it is. For millennials the World-Feeling is completely different.
As its manifesting imprint within the field of women, of E-girl make-up the effect is flat.
Not to mention the Broccoli Haircut on men.
There is no grand definition between one feature from any other; all variables blur into the same insignificance.
Where to earlier styles, the effect of feminine features was form in shape, to the Millennial interpretation effect is a lack of form put to different varying degrees. I can't even think of a clever way to say it. I hate the way Neo-Weebs draw tits. It’s not even the size, it’s the shape.
Instead of going for a nice shape, it’s always a singular round mass which ends at the waistline almost like a gut. And they can't draw a woman without a squinty sardonic face.
This doesn't exist without reason, but can be traced back to the very principle of its guiding spirit, which is the consumption of quantity. With their particular standard form in-place, all the value of female effect needs to do is base itself on the question of how much; it's this universal measurement of worth, separated from the female form, then applied to it as a gimmick.
Anything which was striking about it is flattened, then made bigger to warrant its worth. I hate that particular nerdy style anime artists have. I hate how it makes everything flatter, smoother and cleaner looking.
It is the Millennial Blur for a reason, without coincidence; make no mistake, the tendency to stillness draws back to the will of the majority which serves its predominance in all strokes of Millennial form. Their’s is apathy, hence popular culture has bestowed them their signs accordingly. If young people have these strong powerful hormonal surges, then you can cultivate them with whatever images and interpretations you want towards whichever way of life you want to reinforce, strengthen and sanctify. There are Youtubers who get feverishly concerned that young people might not be getting developmentally raised by things like loli and anime’s interpretation of women.
Wether or not you think those forms have a right to flourish comes down to where your moral loyalties lie. With all this said, it is therefore vein and corporately useful to think that art doesn’t effect reality.
The idea that people just pull information from the ether into their own heads is retarded. I don’t know who started the idea or where it came from, but to think that human beings are that smart is hubris. Everything people claim to have an inherent preference for came from somewhere outside of their brains. Most people just conform to the most common trend empire. To the empire of Warm-Confusion, the spirit of my sign is Cold-Clarity. This is a sentiment which may arise as things get harder.
Quantity Efficient
Art Forms
As an agent of Mass’s aesthetic pantheon, anime holds a monopoly of influence over western culture far broader than its past reach. Prior to this state existed a stark separation between western culture and millennial interests in anime; it was and to an extent still is something you don’t introduce to your grandparents as a westerner. However the medium is slowly but surely slithering its way further into western culture's social acceptability as anime themed magazines begin to crop up amidst National Geographic copies. In its conquest, the particular style of anime in question has already dominated Japanese culture through memetic warfare. Japanese media is saturated by anime’s most efficient potentials, trends in which the pupil exceeds the whites of the eyes along with every other aspect of quantity anime has the potential to harbor. This particular trend dominated the genre's higher but less efficient artistic styles, solidifying an appropriate agent to be deployed in an invasion of western culture.
The nature of lower anime’s appearance is another story; what needs to be understood in relation to its conquest is that despite how goofy it looks, the style is restricted to a set form mirroring the physical realm's confinements. Instead of manifesting the energy of human forms into an unrestricted art style, it copies and imitates what it perceives in the real world. This is why it depicts animals and everyday objects with such cold realism unfitting to its counterparts. Human faces are depicted with a cartoon's simplicity within a world of realistically accurate creatures, levelling them back to logic's domain. The same force which drives such artists to portray animals with a robotically logical realism is the same force which drives them to draw humans by a consistent code. Even be this code of a cartoony style as it is, it still doesn't express of humans any intended given character, but consistency to a followed code adhered to by the understood instruction of processed signifiers like binary to a robot. As is this, so to is their drive to follow the binary code of realism and produce exact traces of animals and objects; this is why both elements will appear within anime at the same time.
Something I always noticed growing up was other kids getting into drawing anime. What always stuck out to me was the mentality behind drawing anime in particular as opposed to generating self sprung individual styles. Their drawings would always be in reference to some screenshot—a copy of something already imprinted to be seen in review. They wouldn’t regenerate the image before them using their own flow, instead they would see to produce an exact copy taking up the entire page as if intended to be a perfect set form worthy of such space. In drawing small expendable scribbles, cartoonists produce by way of something from within them, carving out their own style in the process. The fuel of those who replicate anime is external; it’s the antithesis of doodling smaller sketches across a sheet of paper because people don’t generate by their own energy, instead they see to reproduce something already spat out—for normie units cannot create but copy what is before them. The problem with this is that without their own flow they cannot visualize the drawing as a whole, getting fixated on specific lines and the cleanness of these lines regardless of the full drawing’s context. Instead of translating energy onto paper they see to create a perfect copy; of course amateurs can’t copy for shit so you get these large anime drawings on A4 with big chins and weird proportions but perfectly clean lines, atomized lines—drawn without vision of the full piece, vision which can only come from a person's own energy.
To them, everything has to be a set piece worthy of a whole sheet of paper, like it's some quintessential renaissance painting when really a reproduction of a frame from an anime. This interest to produce one depiction set on an expensive sheet of paper is a normie's interest to capture what they logically understand to be quantity's greatest potential; had they one universal government dictated potential before them, they would see to reproduce it and only it as logic's signified one style. They will abide by this code as instructions can be easily followed over oneself actually creating. Somebody may have copied with detailed precision character's eyes, it's just that they happened to do so about three inches from where they're actually supposed to be.
On a broader scale, the result of corresponding with signifiers is that through perceiving and copying, attributes become atomized within the mind and relayed onto paper as such; the form as a whole cannot be illustrated, only its different perceived attributes as relayed to the copier.
It’s no mystery to me why this sort of thing tends to happen so often with the anime style in particular; people of such a mindset should naturally be attracted to an art style which itself already abides by a preset logic and code. Its set and predictable nature makes it traceable and efficient for producing copies. This common ability amongst normies to adhere to a set code of form is why most anime looks identical from artist to artist and character to character.
Those whose minds are of cogs have to their disposal a doll-like template, all they have to do is apply it with a chosen hairstyle and color palette to produce their own original character design. This is why anime will eventually encroach upon all of art as it already has upon western millennials—then into male sex preference, forming a quintessential efficiency based depiction of woman on behalf of Mass
Simulated Woman
for Mass-Man
If everything has a quintessential form fit for production, then all human drives of power and gravity should be of no exception. How do you funnel and pacify such an elemental drive into one fit for packaging? Trends will cluster to generate one market efficient quintessential image of woman for mass consumer man, equipped with its own model of lust and masculine daring, one model to rule them all. Where something like Skyrim fails is in its closeness to more classical western depictions of women, within a darker and earthier default.
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The female form is removed from women, then separately internalized as an entity in itself, to be applied to women. Then, the standard is polished with further degrees of professionalism, as the default and unanimously assumed, exclusive extension of all feminine forms.
The point of art is to capture energy and translate it into given visual forms—in this case human Formus. Of course those of an average mentality cannot understand energies themselves since such a thing can only come from within, they can however as I have established work with what lies before them, this being the prior expressed outputs of energies. There do exist artists with styles which are their own, those who haven’t been absorbed into the Neo-Anime memetic empire with its set formula; what you’ll notice about theirs' is that everything from the tits to the face to the general physique is part of something whole—a single form resulting from an internally understood energy. What we see here is the output of an energy which can be felt from within, harnessed and properly translated. Each attribute is congruent to the other making up the artistic expression of a singular energy; as opposed to this, Neo Anime’s attributes are fragmented in a consistent order. Consider a plant which organically sprouts and develops; something whole, its attributes of a movement guided wholly. The problem with creating via perceived signifiers is that pre existing attributes can only be plastered and tied together like pre grown pieces of bark and leaf; the product will not be of a rout energy source, and therefore cannot grow further in potential.
Among its many fragmented attributes brought to gather under Neo Anime, there is a stark duality between a dominating understanding of sensuality and those skinny childlike anime physiques weebs are into. This set duality is ultimately prefaced by an underlying repression. To them sensuality and the opposing conventional nature of character aesthetic are separate while their only concept of the former is one of mass, therefore this limited grasp must and can only be applied to pre understood characters consisting of flat default doll bodies.
Masculine daring in art becomes how big you choose to draw a pair of tits on your chosen character template; all you have to do is increase by a scale. Breasts are diverted from the female form to be atomized as their own entity, as a gimmick existing separately within the mind of the consumer to be brought from elsewhere and applied to depictions of female characters as a foreign accessory signifying a specific strain of infantile sexual stimulation fixated on a yearning for a mother figure—this signifier is to be implemented upon character hosts. Of this their is a separation between character aesthetic and implemented arousal; consider the aesthetic of games like Xenoblade, Fire Emblem or Genshin Fudgepact.
We may see body types slim or fatten but a formula based anime face remains set in stasis. Maybe an artist wants to dabble in drawing a certain body form; whatever it is, it’s going to be done under Mass’s formula. The artistic realm of physique is like a playpen where artists can experiment all while underneath the jurisdiction of Neo Anime’s facial code.
In efficiency’s name, all trends by natural law will eventually gravitate towards one reviewable formula. In man’s ability to copy, artistic tendencies are not born of the mind, instead the most repeatable attributes will prevail and eventually set into a quintessential model to be further copied. Art is not going to be personally unique via individual developments, it's always just going to be a skinny neck with the face of a child pasted onto an anatomically realistic trace of a body.
It's just a matter of nature—if one normie artist can subserviently copy what they see before them than so can a generation of the fuckers. It takes no jolt of psychological movement to copy—its exists as a free flow; on the other hand it takes a self understood aesthetic preference along with a tangible will in interest of its right to create something in deviation to the master trends of Mass’s efficiency.
The strategy of Christian Civilization is to provide an anchor-point of moral standard to which the weak will conform, rightfully, and the daring may deviate from in their wild years. Inevitably, it is the daring who create innovation. This climate eventually fermented in the culmination of an upper media layer influenced by early science and pulp fiction, considered pornographic in their time, crawling so later works could walk.
The likes of Egoraptor and the newgrounds era came up on this kind of media. The problem is that for a long time, it had been maintained by the means of a stealthy maneuver, which dipped into the profane from the anchor point of societal standards, without declaring any allegiance to one or the other. This allowed it to dwell into the underside to degrees stylish and impressive, aiming to avoid purely luxurious propositions devoid of swag, catered more to the weak and simple minded.
the delicately balanced order of this tradition which lingering into the 2000s was not meant to be defined by legislation and internalized allegiance, if not by only the wisest and most learned sigmas. Most cherry busting savages need not rebel against the church in order to stray from its norms to live as a man. It was only the autistic minds of ideologs who felt compelled to order all retrospective action within the morality of a manifesto. This is why a lot of leftist artists fixate on enforcing a negetive by hating on christianity, aligning with punk, a long dead fashion genre because they equate it with voting democrat. They couldnt stand the prospect of living wrongly, so set new boundries into the greyzone within which they could feel whole in accordence to a commitment.
But the seedier part of town stops being exciting once standardized as a moral positive, for having a positive, while implying a negetive simply evidences the preservation of the christian mentality, from which a form of the latter must be present to submit to. The further standards strayed from conservatism, the quicker those oriented to follow order began snapping to one end or the other, many aligning with degeneracy to its fullest conclusion, if not officially on twitter or new-troongrounds, then unoficially on incognito.
In accordance with the principles of Burst, Arin ate shit as soon as he was faced with an actual confrontation, walking out in a pink sailor moon costume. 10 years prior it would have been a metal gear cosplay, however with the march of an organized mentality, such as of the then corporatized game grumps', into the greyzone of media, all underside forms became equalized under the recorded value of freedom, leaving arin no reason not to confuse the old pop culture for trooning out in front of thousands of people before a fight. He was humiliated by a Judaean veteren of early youtube, trained by prime agent of the coming Burst, Sam Hyde, who's methods prevailed in the realm of men, which is probably why the values of arin are promoted in the modern climate. Sam is one of those rare wild men who traversed the underside in the 2000s when it was fresh, but had the intelligence to maintain its old swag in rebellion against it once assimilated to promote easy degeneracy. It's fitting that his moral sword-theory predated upon such a traitorous lord of influence upon the antinormie youth. Yes, the goblin and the high elf does get cucked by the barbarian. All we have to do is reunite discipline with lust.
Nostalgia’s Signifiers
and their Original Energies
A side effect of a will to the logic of signals is the petrification of older signals—this is the age of Nostalgia. Vaporwave is a genre defined by its reminiscence for the 1980s and Lofi tends to take influence from 90s anime with a sense of lament for times gone by. Such fixations are typical of those who perceive visual code instead of meaning; as beings programmed to correspond with signifiers, most people lack the ability to harness the energy behind such signifiers. When an artist produces a painting, the passion they feel and the energy they are in tune with is what produces that painting; once finished the painting becomes a set piece of material which can be traced over to create copies; these copies are the signifiers of the energy which drove the artist to create in the first place. The signifier is only an imprint of the artist's energy; energy is the boot which produces these imprints. Since normies lack the cerebral ability to manifest energy themselves, they can only correspond with signifiers; they cannot create, but produce copies of what they see before them. From energy's stork, signifiers sprout like leaves; as these signifiers are reviewed over and over, the original passion in understanding of their meaning is desensitized, becoming like hollow shells or dead leaves. A drawing, no matter what it depicts will become akin to any other merely as ink on paper in different formations once looked at for too long. Through its movement, energy crystallizes into set forms to be reviewed in retrospect like that of eras long passed. An energy's leaves must be allowed to die so the stork can maintain its existence and movement through history instead of petrifying into a signifier maintained through nostalgia's fixation. Like a snake, energy must be allowed to shed its skin; a snake does not wear its old skin for nostalgia's sake, it chooses to continue living by maintaining the eternal energy of its movement through time. Contrary to this rule, modern culture has a tendency to wear its shed skin. Genres like Vaporwave arise harking back to the 80s; instead of being able to continue the original energy behind the culture of the 80s in new forms, an understanding of its heroic spirit dissolves as people fixate instead on what happened to come out of the film music and fashion industry at the time; but leather jackets, guns and robots didn't win the hearts of people who grew up in the 80s, Heroism did. Unlike specific trends which come and go, heroism is a static value, eternal in its being. Most modern day cinema sensations are remakes of old franchises already equipped with cult followings from previous generations; an energy's imprints, its various copies are preserved and held up like puppeted corpses to be celebrated by masses of consumers who cannot contemplate the forgotten meaning of the trends they subscribe to. Old, warn out franchises sucked dry of their energies are regurgitated in the form of endless reboots and spin off's for the sake of previously established signifiers of consumption. Instead of fixating on the imprints of such energies, what people need to do is manifest the boots which create them by holding interest in meaning as it transcends specific time periods and manifestations in atomized circumstances; this way man can truly be and not once have been back in the good old days.
True Chaos
As much as passive indulgence saturates modern culture, the testosterone of male youth still needs some outlet of aesthetic aggression through what can be generically understood as spark, or color in opposition to the mundane. Nowadays this need fuels the growth of hip hop genres and Soundcloud Rap but in the 70s and 80s western youth found its spark in the form of Punk and Rock. There are many different forms of power in aesthetics, but Punk—which is developmentally and spiritually of a very British origin manifests aggression through apathy as a method of adamantly rejecting what it understands to be conformity or trend. Their aggression is characterized by chaos in opposition to order, whatever order happens to be. Chaos is their spark, apathy is understood to be akin to this interest. They choose not to care about anything for the sake of aesthetic value, when really they do care heavily about something—coming across as dangerous. Not caring about anything is just a suggestion towards being potentially rough and self determined. Their spark is found in the movement of negating predominant forces; to them, doing so achieves liberation from the alternative jurisdiction of outside trends. This interest is best exemplified by generic iconography of the genre's fashion sense; a leather jacket modified with chains and badges is meant to suggest a flow of time by which such additions are spontaneously collected and applied; the idea is that following rules and being subject to the burden of maintenance entails plain clothing, something which is meant to be contrasted by the illustrious aesthetic of freedom's being through quirky and colorful modifications. Key to maintaining this mode of being is rejecting being itself, existing without attachment or the fortification of values in order to maintain freedom from trend, freedom from order—even the order of chaos's aesthetic. Nothing can be held in earnest; regard for every badge must be carefully balanced between not caring if it falls into a gutter and caring enough that punk's fashion be maintained. The irony here is found in punk's class as a fashion and music *trend. As much as it hates to admit it, punk is itself a trend, and in order to be, any trend is required to uphold itself through an understanding of its meaning and what horse it has in life’s race; however if the key value of your trend is not caring about anything, you are going to run into contradictions in your attempt to find a stasis of being, especially when your interest is avoiding stasis of value itself through apathy. You cannot reject all order including the order of your own interest to reject order. This is why punks will say: "i don't care what you think" but care enough to say so in the first place. Johnny Rotten of the Sex Pistols can be seen in interviews complaining about how punk and rock become fascistic in their conformity: “like a church or a religion” as he would put it because everybody starts to look and act alike under a trend. What Johnny fails to understand in romanticizing apathy is that the nature of holding anything in interest is fascistic and religious in opposition to things which aren't it, and that you can't have an aesthetic interest in music fashion and attitude while truly not caring about anything at the same time. Every trend has an order to its being and this order can either be fortified or abandoned.
This is why when a renewal of the Punk movement is marketed towards cretinous millennials, fashion lines produce Punk themed clothes with predetermined designs manufactured in mass uniformity, trousers purposefully torn at the knees to be sold as such. Instead of damaging clothes through rough activity and accumulating various badges and implements over time—pinning them upon tattered outfits, people can buy leather jackets with chains and badges inherently intact, as determined with a religious sense of aesthetic right by professional designers. What in theory is supposed to suggest the affects of a spontaneous lifestyle is solidified and mass produced with set forms because trends in nature operate with definite and certain understandings of themselves. Punks and those of their mindset call people who understandably have a horse in life’s race conformists or puritans, but why would someone with an interest be expected to have a preference in fulfilling only half of that interest instead of all in its purity? Don’t punks hold a standard of purity in fulfilling their ideal aesthetic instead of purposefully wearing suits and ties? Presumably, wearing plain and simplistic clothing should fit apathy's true nature more accurately in its effortless requirements as opposed to maintaining Punk's intricate dress codes for attention's sake. Punks don’t submit to such easy going dress codes, instead they put money and effort into making sure their jeans and jackets are tattered enough, preserving a set image ironically meant to represent apathy, when in actuality everything they do is prefaced by an adamant caring. They uphold punk's fashion like a “church” or a “religion” as someone once said. Punks bare their fashion in uniformity amongst each other. Subscribing to a trend means wearing every badge and chain surely with the definite pride of a soldier wearing a uniform free of tatter, utilizing quality to its highest potential in the name of said aesthetic value; quality is not sacrificed for the sake of a rag tag characterization of spark. In holding aesthetic preference in trend you either embrace religiosity and essentialism in its name or get the fuck off the stage of memetic conflict in order to allow more space for people who actually care about core values. You either fortify attributes to no ends in a righteous solidification of their value through religious monuments or become someone who actually doesn’t care about anything, using freedom to submit to the ease of simplistic clothing; freedom and apathy is a lot less illustrious than what punks like to characterize. Apathy, in being the belief in nothing naturally depicts nothing in its aesthetic—static absence, an image more akin to punk's vision of the mundane as they would understand it in the conformity of soldiers and religiosity; but who holds more spark, soldiers who shamelessly wear their colors proudly and surely or someone who goes out of their way to tell you how much they don't care about what you think. People who actually don't care by extension don't have the energy to throw bricks through windows and spread anarchy either. In reality, having no aesthetic religion means either committing suicide or dying of a heroin overdose, at which point Johnny Rotten and the rest of Sid Vicious's mates can be seen to hold a lack of apathy when it comes to drug use. Having apathy—not caring about anything means becoming part of trends and entities which do have a sense of self interest and preservation; for instance take the trend which is heroin addiction, or any other legal indulgence for that matter. Indulging in hedonism's simplicity means being in a state devoid of vibrancy—what punk attempts to harness. When punk glorifies “chaos” what they really mean is spark, that's what's actually so enticing to them.
All chaos is in nature is the state which something can be identified once diverted from its being's intended structure. Chaos’s form isn’t exclusive to spark, only if the order which is in a state of chaos is static in nature, logically making its state of chaos one of movement; in the same way, the purity of punk's vibrancy can also be in a state of chaos, resulting in the mundane. What punk is actually trying to achieve is spark, because despite reaping chaos, they didn’t form a trend around the mundane as it results from vibrancy's disorder. Punk assumes spark in association with freedom and stasis in discipline, but what represents more spark, a physique molded by discipline or one left passive through neglect? Punk perceives heat through “chaos” and cold in “order”, choosing to favor chaos through the rejection of discipline's order. With hubris and a lack of will power they see to harness heat without enduring cold—skipping the effort of overcoming—wearing the flamboyant colors of unachieved vibrancy. What punks fail to understand is that elementally, in exposure to the ruthless order of cold climates, warm blooded animals harness heat to survive; creatures home to warm and easy environments are left cold blooded with a passive conformity. On the macro level, chaos—true chaos as in movement and spark is like music with a set rhythm and structure in its progression; like a knife or a pair of iron wings—fluid, rough and diverse in their motion; zoom in to perceive the very fabric of their nature and you will see material consisting of tight nit particles, disciplined to a set and unapologetic order generating the strength which chaos requires in its movement. Discipline or order is the fabric of chaos; true chaos comes from order. By this same law, on the micro level, components of chaos move without a consistent rhythm—scattered particles like scribbled lines on a piece of paper; zoom out and you will see that this lack of collective direction results in an order of stasis devoid of movement or diversity, like a bowl of water—static in its apathy. To put it simply, punks live by chaos—making them orderly in nature; those who live in order by a code of discipline manifest true chaos through strength. It's that feeling of definite right you feel when listening to music, abiding by its rhythm and structure, an ecstasy for movement of religious proportion. There is no chaos and order, only strength and weakness. Balancing fashionable ruggedness is tricky. If you ask me whether I’d prefer to have my face clean shaven, I’d say yes—for the record as the preferential default. But, when I’ve been in the work flow for a few days, I'm not sleeping properly and stubble starts coming back, I’m still gonna admire it in the back of my head. However stubble as a preferential default doesn’t work by principle, because part of the charm is that it develop organically. Men who make sure their stubble is nice and neat are contradicting the point of the aesthetic in even having a preference for it. The whole point is that it accumulates while second to the fray of process. Music, sex and all other aesthetic facets are in the same fashion meant to run in the background. You work by the primary interest, and everything else may arise casually along the way. They are not religiously upheld by punks as a fashion, but they aren’t non existent either. They are the byproducts of prime drive. This is the flow which every punk and rebel from the 60s onwards has been trying to capture but can’t for lack of any firm centre value from which stubble and music may arise. Only Clint Eastwood pulled it off, and he definitely wasn't a nihilist. Within current culture, health and strength are portrayed as high but stiff and rigid, lacking movement's charisma; this charisma is wrongfully granted to decadence. Being weak becomes being vibrant and fun; this is why that meme of the blonde guy with the beard managed to float to the top of mainstream meme culture—it’s a dagger in the back of health and power because it makes such power come across as dry and severed of the charisma this culture grants to its punk-based established archetypes.
Energy and Petrifacts
After the age of punk comes the age of retrospective culture documentaries about punk and interviewing of its former idols; reminiscing back to the 70s and 80s, not unlike Outrun or Vapourwave in the modern climate. Of this era we see expired punks having transitioned from living in the moment with pink hair and nose rings to practically and academically looking back to try and figure out what it was which actually made the trend work in the first place and where its value can be defined—partly because in their decline it's something they can’t actually live anymore.
I am in awe at this post. I saw a lot of people poking fun or calling you schizophrenic but I haven't seen something this profound and truthful in months or maybe years. Did you go to college? What courses did you take and what books did you read to obtain the perspectives and language needed to make this blog post? Stunning work, man.
ReplyDeleteI heavily agree with you and I would also like to know.
Deleteprobably because the author is making a number of fallacious arguments that only work if you think your beliefs are more valuable than someone elses, and does it all without a single citation on human behaviour or the mind (almost like its all made up in their head)
DeleteOf course my beliefs are more valuable than someone else's, you goober, otherwise I would have the same beliefs as them.
Delete> without a single citation on human behaviour
Delete> implying a need for a source for observable behaviour
citate these nuts
Deletefuck you
ReplyDeleteNice
ReplyDeletehow long have you been on adderall
ReplyDeletethis is kino
ReplyDeleteactually interesting to read.
ReplyDeleteincoherent rambling by a kid who clearly doesn't know anything about the world beyond the internet. anything can be a some narrative conspiracy if you ignore everything that doesn't fit into it. the world's a big and complicated place, and writing a deranged thesis paper on anime tits really just makes me wonder what kind of weirdos you hang around. cause let me guess, you watched fight club once and now you think you've cracked the code. grow up
ReplyDeletehit me up Otto Heckel#1925
Deleteimagine being this buckbroken over anime
ReplyDeleteyou need to stop looking at that shit
DeleteWould be interesting to compare these posts to the timelines of modern art historians. I've shared and observed this sentiment towards uniformity/compliance in art alot recently, but you've verbalized it in the best way I've seen, even if I disagree on stuff like artist intention. Not sure if fighting 'warmth' or convenience on a cultural level is even worth it at this point, but we make our own choices. Take care.
ReplyDeleteIt's written like it's being written by someone who certainly thinks they are really good at writing and have anything useful to say
ReplyDelete112.248.160.145
DeleteWhy did you put a Chinese IP adress?
DeleteCase in point
DeleteThis is actually a pretty based read
ReplyDeleteI dig your blog bro I think i'm gonna bookmark it
I come back to this post every now and again, some pretty good shit here
ReplyDeleteLike most incel posts, comes off as a mosaic of schizophrenic truths.
ReplyDeleteLike most incel posts, reeks of cope and seethe, dolling itself up with big fancy words in order to insulate the author from the reality that they have yet to, and may never, achieve material success in the world that they so vehemently despise, and yet are so magnetically attracted to.
Interesting stuff regardless - you could become a scholar of this stuff if you learn the politics of academia, though like most incels, that probably goes against your personal creed.
Great read. We need more down and dirty takes like this.
ReplyDelete