Aesthetics are the byproducts and advertising agents of different modes of being; the oil which greases the treads of human movement, through which people navigate their allegiances via displayed values. Upon memetic breeding grounds, different trends compete, dominating and perishing if insufficient. Any predominate trends, even if hated, are noble in their inevitability, as are those which amass their lordship in service to comfort. Per the specifications of creatures dependent upon cohesion to survive, leisure is refined to such a degree that people receive their fill in accordance with humors of the body and mind. By this eugenics is conditioned an order of balance, regulating the function a society's life cycle, in whatever form it takes. The key principle is that anything that can happen will happen, because there's no reason it won't. Any leeway which can be taken, will be taken, like water trickling into cracks. Where the environment is safe and abundant, there simply isn't anything to stop those with momentum from boosting their industry. The result of this is the promotion of cultural forms perpetual to growth. Whatever they may be is accidental, as the commanding value is mass. To generate mass, a cohesive population is required. The man who helps himself lives by an intuition, regulated by the ability to opt beneficially within a dynamic world. This triumph is a direct snub to the conditions of social systems, therefore dynamic thought is a characteristic unsustainable if so many people are to possess it. Hence Mass society conditions traits applicable to conformity: flow is replaced with the gratification of matching quotas; dynamic thinking is rendered obsolete in their service. As far as a population's majority lives to fulfil it, any form whatsoever can be standardized and prescribed on an industrial scale. The only thing left is the question of which forms are most efficiently reproduced to be called the aesthetics of mass.
Replicant forms are keys to which majority consumers are fitted with common locks. In order to promote power structures, such keys must, in their form, endorse values conducive to consumerism, i.e. passive morality and allegiance to conventions. Without these mental checks, the move would be to get crazy, get stronger, and somehow flex your effect upon the world. For this interest pure and irresistible, aesthetic colors and forms revolve around the impulse, always flexible to serve its place and time. For normies, the standardized signal comes first, to be adhered to. Without the restraints a soul, replicant forms can be spammed across a population, as hollow as they are. They can revered in their lordship, yes, but so can conduit forms of wild flows in their immunity to the snags of moralities and sterile petrifacts. Where flow commands movement for the daring, for the conformist quotas serve as intermediaries to such a point that people hone in to ask what the meaning of life is, instead of living it. I site this as my conviction that the repetitious forms to which normies are compatible should be identified and negated by the free and daring.
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 a mutuel agreement that consequences exist for those who conduct unprovoked warfare. This environment does not spell that the sex and violence of conquest be absent. These red emotions always need an outlet. Different tribes in their developments 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 imposition, all throughout the growth of the great complex. The standards of Christianity only exist as official padding in between unofficial occurrences of a repressed 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 his 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 Parish community, or any society which believes itself to have rejected violence from the human psyche. If not mild pornography to release tension, hosts are compelled to commit the occasional local atrocity like BTK, or other small town serial killers. One of the most corrupt and prime examples 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 atomization, 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 with 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 their neighbors. 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 permitted. In states of weakness, they must hold onto moral authority as a crutch. Rednecks identify with Rob Zombie, 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 once again back to cynicism. Oneness with carnal aspects became illustrious after a decade of family sitcoms and deep state propaganda licking America's wounds post Vietnam—and even before that tired decade was through, the Simpsons debuted in 89. These forms settled a consciousness of hostilities into casual thought, as the spiritual German is to his surroundings. It feels good to keep hostilities close where you can see them, hence the time’s use of chiaroscuro as a visual motif. The factor separating this mentality from dry stoicism was humor. Heidegger said that his best advice for young people was to spend more time in graveyards. What he meant was, you only have to be alive for 80 or so years, so don't be afraid to be adventurous, but it would also aid you in doing so to be frosty to the presence of death. For the Zoomers it’s the opposite, in that their first instinct is to appeal to victimhood: “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 dark, and whatever happened happened—fortunately for the time, in a way descended from stylish 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 lust and hardship, 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 readiness for 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 have to be returned to a Christian morality.
Weeaboo
Metamorphosis
Upon discovering comic books leftover by G.I.s, the Japanese standardized the cartoon medium into one style to rule them all, then began 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.
Anime is not to be confused with animation from Japan. You can measure the gradient using a ratio. If the whites of the eyes exceed the iris then it could be Divine Intellect.
The Japanese elaborate on Western forms really well. In the 21st century they are refined and impotent, however are impowered by certain masterful occidental forms. Hellsing draws from British movies from the 70s; Lupin III copies the James Bond formula, and is supposedly set in the same universe as a public domain French novel; Street Fighter came out during the JCVD meta; Silent Hill is based off of Twin Peaks; Metal Gear's Snake is a carbon copy of Snake Plissken from Escape from LA/New York; Berserk, Vinland Saga, Jojo... all are charged with what to them is rough and exotic.
The notion of samurai being stoic and refined is a product of post war pacification to convince the Japanese that war lust could be divorced from their nature. The truth is that samurai used to collect heads as trophies, and continued to do so during the age of peace, having resorted to banditry as the Kabukimono, or 'Crazy Ones'. The Yakuza are partial descendants of this class, and the only real example of masculinity in Japan as it is now.
Satoshi Uematsu was a Yakuza associate who was executed for killing nine people in a disabled home with a knife. He was dubbed the Retard Terminator for his love for Arnold Schwarzenegger, having died his hair blonde, which to the Japanese is a sign of being.
The term Yanki is synonymous with rebel, and derives from Yankee, used to refer to Americans, who the Japanese would have encountered during and after WWII. The subculture, Yanki, is associated with blonde hair and Marlon Brando's delinquency, however doesn't resonate with how Westerners actually act, and is really an intrinsically Japanese form with a foreign catalyst, which had reignited the samurai spirit in the Japanese free of familiarity to a suppressed imperial past.
This fashion is rustic to a Japanese but fruity to a Westerner, therefore beta males in the West identified with it around the turn of the century. This isn't necessarily a bad thing, as it lifted up those cerebral who otherwise didn't have a head start as young men.
The subversion came from low IQ beta males, who had not the depth to understand Yanki, but held onto it for its convenience to their weakness, distorting it with an R selected libido, regurgitating it back into the public space.
Likewise, the low IQ in Japan could not interpreted western merits in Schwarzenegger as the Terminator did, glomming onto what had been projected by Western weebs, then regurgitating it back into the West.
Neither party is to blame, since they both feed into each other. It's the noble of either camp who are undermined. What was said by a Yakuza boss in Black Rain was right: "You shoved your values down our throat. We forgot who we were." The same can be said for a generation of western geeks, who now feed upon what has been produced by the interests of beta male half-normies between Japan and the West. Its alternative has declined in favor of degenerate forms catered to the easy going and reluctant to conflict. How can their media inspire them to fight; it is lathered in a cushy irony. It accounts for the need for sex and violence which young men have, however carefully regulates itself in distance from the tactile elements of reality, as to make the prospect of actual conflict seem abstract and cartoonish.
Nobody has ever been inspired to pioneer by the likes of its ilk, as have those charged by the residue of noble Western inspired ventures.
Unfortunately the Yakuza are a dying breed with an aging population, soon to be replaced by a generation of low T cyber criminals.
See now that many weebs are young men, compelled by media which by Western standards looks like its targeted towards little girls. Even as they maintain confidence in their anime review channels, there's still an opening for attacks from patriarchs and masculine agents.
As anime became more popular, nearing towards settling within a mainstream status, weebs needed a way of maintaining at least a modicum of potential towards integrity were they to continue their niche, lest they continue to fall into the same category as furries and bronies for cringe compilations.
The catalyst was Filthy Frank's "Weeaboos" video, which separated the wheat from the chaff between classical otakus and what was to come.
Instead of distilling the handicap, they doubled down on it while charging a technical facet of male impulse, which would be Japanese perversion.
This would co-ride with libido strains native to the West, assimilating the given waifus of initial interest within their grasp.
Anime began to influence hip hop and its ghetto foundations, synthesizing the two interests along the lines of Soundcloud/Mumble-Rap.
Rappers incorporated all they knew from growing up watching Dragon Ball Z, and or hentai into their music along with all of hip hop's previously established themes. Generic anime characters were colored brown and given face tattoos, wearing hood swag; rappers started using anime AMV’s for their music videos. Basically the culture grew teeth so weebs could feel less vulnerable. They might watch cartoons for girls, but would a bitch have a poppet of an anime girl with a gun in her mouth? I think due to the sheltered nature of normies, they were able to swing making Lucky Star fans or whatever seem edgy, as far as tourists know.
The weeb's recourse to criticism is obnoxiously latching onto sex as a weapon, gloating about their genres coomer retardation in everyone's faces, and saying "Muh lewd" like a quirky faggot.
Throughout the shift, the anime form itself transitioned into one softer and more fixed to a single model.
This wouldn’t be anime’s only transition into Western culture. Anime’s effeminate aspect would also for a time be balanced out by 80s nostalgia leading into the early 90s computer era, commonly incorporating what we know today as Vaporwave, a genre which with some tweaking along with heavier influence from Japanese culture and more emotional aspects of Mumble-Rap would produce Lofi hip hop, appealing to a Millennial market for self pity.
Everything changed after 2016. Two different cultures, anime and Western media had synthesized in the great Plainmeld of 2016. Far from the limited capabilities of its classical form, anime evolved from innocently cringey geek fodder to something allegeable for promotion by corporate speculators.
>2016>
A new pantheon of aesthetics was established, with Mumble-Rap feeding millennial youth's aggressive aspect and Lofi pampering its passive.
There was a short period after the decline of the 2000s, when zeitgeist virgin soil, and no momentum had yet found itself, during which the young experimented with anime, and pools of quirky internet niches. There was this magnetic feeling of potential which cannot be described. People my age, had no tie to the forms of teens which had come before the Scene Age collapse, and were dabbling with romantic anime, which was penetrating material for an unfettered generation discovering the hormonal world of what is central to life itself, and therefore the cause of conflict. A lot of these anime had consistent visions of cities at night, with lights flashing and shining from within them. Night is for when you go out and test your metal either with a girl or for a girl against other men. The air is cold, which isn't a problem when you have hot blood and adrenalin under your skin. The feeling of cold air on hot skin is the tactile prime-symbol of what it is to be have piss and vinegar.
As we know, the coming zeitgeist would be that of service to the weak. Anime was utilized for a soft degeneracy, melting the fire of an untouched generation's hormonal potential. Romance anime without this element was banal and childlike, pushing people further to those with it. Romance and lust could not be one, as it had been for generations, and may have been, with carnal humors channeled with shameless hunger intact. The anxiety of growing up wasn't tempered into this elemental surge, but encouraged into insecurity, promoted by Lofi and depression culture. It's no coincidence that out of all the weird niches I mentioned earlier, Filthy Frank would become the most prominent, further encouraging half normie meme humor and SoundCloud rap, while spawning a new aesthetic for self sorry masturbation. This was good for the weak, but for the daring, no glory was yet to be channeled; and for those in the middle, it could be said that many were deprived of what could have been assentation, sinking into the pink saturation of what was most prominent. Here's to the lost.
Humors
The swindle is thus. Edgy media has the virtue of conditioning young boys before entering the adult world of hardship. Prior to 2016, most shows and video games were of this nature, and even growing up watching The Simpsons is a prime device of this function in the same way a vaccine works; a little bit of 90s cynicism gets the antibodies working, warming up the psyche so adolescence doesn't smack like a baseball bat, and many concepts are already familiar.
Influence since 2016 serves the complete opposite function.
It discouraged harsh interpretations of the world with this cartoonishly blatant comfort culture in the likes of Lofi and C H I L L aesthetics, encouraging people to expect a certain lifestyle promoted in art, making withdrawal from these ideals stark and rattling, to which the recourse is offered in the benefits of depression-posting.
Where hostility is to be met with extraversion, this response was replaced by constant messaging that hardship could be lamented as apposed to fronted, and that a sympathetic culture would reward trauma dumping with gives-me-dat—achieving what Emo never could.
This way, young people would stop gearing their minds and bodies up for conflict, turning inwards in favor of a different selection strategy. Acknowledging pain usually serves as a means of overcoming it with a more dynamic psychological range, but Millennial comfort material is puritanical to a delicate vision of the human experience.
All suppressing the grimy and carnal aspects of life from representation does is create impotent territory, made fertile ground for another form of edge to advertise itself in contrast to, soft degeneracy. That is why there can never be mutual cohesion between comfortability, or the mundane and lust; its because its easier to sell that way; there has to be a stark separation.
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A paradigm in which the individuation of Jung or integration of Greek philosophy is despised by the proprietor of modern offerings, which ever side of the dichotomy they belong to, in the service of a fragile and impressionable youth, softened up like when livestock castrated before the slaughter.
Xxxtentacion and Joji supplied both in articulating the culture.
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. 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.
The extent of their humor is four images of something they like with one being different to the others.
It's the same formula of English humor, mild deviation from the orthodox. They can't make anything, so take something funny and paste their favorite Genshin Impact character or something over it.
The purpose of media is to create a compatible bridge between the real world and the hypothetical world of inspiration which informs its viewing audience. Anime has evolved in such a way that it has its own laws of form consistent across all animated media from Japan. Anime artists aren't crystalizing an interpretation based upon elements from their own world, as has produced a diversity of styles drawing from time, place and experience;
They're adhering to the laws of a universal style, which due to its incestuous nature cannot draw from reality. I began to notice this as the generation around me planted with the seed of the genre matured.
Beta males, who make up the viewer demographic, don't look like anime characters, however the healthiest among them can be interpreted in relation to earthier depictions of the human experience.
The reality of human biology is a bell curve leading from dysgenic bone, flesh and blood to hardy bone, flesh and blood, and not a binary between clean identical templates. The pillow-fuckers are like the Barbarois from Vampire Hunter D, mutants and demons; the closer you get to effective human beings, this rough biological element persists, as it did when man killed its first predator, just in a hotter blooded, more directed form. You can already detect something analogous to the mentality of weeaboo consumer units. They have rejected the fluid, savage prospects of man, and opted for a fictional image which they themselves can never be; a binary value system, and not a gradient whereby power defines, leading up from weakness, and into sufficiency, as had existed before.
The blow which this has on women is depressing. There was a time when feminists called classical media sexist for portraying what was referred to as unrealistic body standards for women. In actual fact, the beauty idealized, even in its stylized form wasn't unrealistic, just uncommon, as are all great qualities of humans. Ideals belong to the vanguard.
In accordance with nature, health was upheld for the masses to envy or aspire to. Degenerate anime art isn't to be mistaken for this glorification; as it comes from the same libido strain as the inflation fetish, which can be gleaned as it intersects with comic dub channels on YouTube.
You can see that Corngak has since deleted all his degeneracy posts, changed his profile from Lofi pink, gotten rid of the Kanjis, and now makes crypto-fetishistic animatics aimed at kids, involving age play and inflation. This seems like a very robotic move, to glom onto a style while creating visually incoherent but clean looking glop, adopting another look to corrupt the youth. To adopt a universal style as a means to an end and become one in thousands of anime artists is something I cannot reconcile with any human compatibility.
Having no sense of swag, but coldly adopting the signals of selection strategies will make more sense to me if such people are Indian, which would explain the typos and posting of whatever the meta is. otherwise they may just be demons in the same way pestilence accumulate where there is food.
Falling for an inflation fetish at a young age is an inherently low IQ thing to do. With all there is, your synapses crossed at a gag in a cartoon before getting to actual women? That's the equivalent of eating your crop grain before the winter, seeing the trees before the forest and getting vexed by the first accidental instance of something before conceptualizing its essential form. For people interpreting information binarily, anything can be put anywhere, without the restrictions of extended contexts clashing with each other. For market purposes, you can appeal to an increasingly dysgenic population. Short people relate to short characters as love interests because they equate the handicap with the quirky harmlessness they've adopted as betas. You can also throw on an R selected libido strain, without any cohesion to its host. For that matter the same can be done to any other preexisting architype of femininity. Normies interpret information consecutively anyway, seeing overall visual outputs as signifiers, whole of all their aspects. It's not that it's unrealistic; it's that it can't extend into and from reality, as can classical forms, inspiring men to possess beauty and women to aspire to it. Like most anime, it's a cartoonish bastardization of human impulses to reproduce, making the actual prospect of coercing a beautiful women, or being physically triumphant, seem abstract and within the fictional. Nor can women aspire to have DeviantArt inflation tits unless they get plastic surgery.
Weebs who think they've conquered feminism with these depictions of women don't understand that the purpose of that ideology itself was to discourage reproduction, and promote female independence by promiscuity between men. It's harder for E whores to make a living as far as men having singular preferences in women. That's why the Tumblr style which they accuse of belonging to a liberal west, in fact intersects with their creed.
If the gripe of weebs was with the degradation of health, they could have complained about feminists attacking beauty when they were attacking beauty, but were only moved to defend their tasteless porn, something now promoted with millions of views on YouTube, as if speaking truth to power.
All they're doing is perpetuating the propaganda which normalizes a gap between lust and real world actualization. The whole coomer culture is generated by pain. It's not like the Black Jack and hookers degeneracy of the 90s and 2000s, which was integrated within the human experience and could automatically optimize itself within reasonable lines. Unable to inherently confront dark truths of reality as its predecessor did, it is ashamed of itself, constantly withdrawing and reentering, while occasionally teasing towards abuse porn, as a cry for help.
In the past, a current existed between adult life and the mundane, and could not be intimidated by pathetic proclivities. For media in which danger is intact with direction, the seedier aspects of life manifest as a prostitute in Sin City or Spawn, part of the background of the world; for the weebs, it is a shocking realm separate from their soft default, and therefore can be more feverishly bought into by consumers in its contrast. Many things which would have been natural in media targeted towards young hormonal men is gawked by low T Zoomers. All of a sudden people point like the soyjak at Chun Li’s legs, as if she didn’t look like that in every other game. We had balls steamrolled by an intonational weight and set back to prudence, so they could provide their sin as an alternative product. Don’t act surprised when a woman is drawn aesthetically triumphant from the old era. It was normal.
Pre-Plainmeld Artefacts:
The sterile disposition of beta males and zoomers is the fuel which maintains reverence for what the unpowerful; they cannot tell what is convenient to commit the mind to, for all is equally shocking to their impressionable sensibilities. Hentai and gore used to be a scarecrow to keep normies off of 4chan; now the only guard is fear of wrong-think, as Low IQ libido strains clog up the YouTube algorithm. They are references for upcoming men and women for such elemental drives, from which the rhythm of every other facet must extends.
Many of the following channels also make animatics aimed towards children.
This is white male genocide:
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)
There is a darker prospect to this.
The selection strategy of pimps is to take advantage of women who were abused as children. Women in particular cannot contemplate the impact of sex from an unoriented state as men, who are naturally adventurous, can; therefore their mental recourse is to pursue the abuse further in a stunted grasp for catharsis.
This is how the porn industry recruits women, most of whom are discovered to have been molested as children.
The testosterone deficient male mind is similar when it hits puberty after having been exposed to the world of sex from an iPad at a young age. For those who are sheepish about sex and still cling to a notion of childhood, the soft art style and gay etiquette is there for them in anime, as it was when they grew up watching Pokémon, however the withdrawal from it is there as well. Their synapses have connected to forever associate sex with an intrusion into a prior separate state, as they relive the same trauma throughout every engagement. The forms anime girls take are, by design, incompatible to the beauty of real girls. The prime function of demons of Babylon is to sap energy from men by advertising an enthralling element, but limiting its form in a way which isn't cohesive and conflict with their extended intuition for women in the rest of the social world. This confusion keeps them coming back as if to resolve the dissonance, however perpetually maintains their attention without the ability to distill useful from snagging elements, thus preserving the use and influence of the agents themselves. It's ultimately anti-natal, as a ploy to make young men ashamed of their own sex drives, with recognition wired to memories intentionally severed from reality, without any vein into the worldly realm of women. How can a young man bring such an informed instinct into the play of flesh and blood, without needing to withdraw. Had they a secure and bursting reference for impulse, extending in its vein from and into reality, things would be different. To be conditioned before hand, by the same violent videos games media once complained about by boomers, is to get straight into the weird and become a teenager, full of piss and vinegar. This demand characterized the nobility of dark Japanese anime, as it provided a window into the world of danger, hence its suppression. To the western psyche, there is no such thing as animation from Japan, there is anime, and Streetfighter is classed amid Lucky Star.
There is obviously however a difference, which is why to throw off they psyop is to discover pools of media cooperative in influence to Western creations—and vice versa—in the interest of male adrenaline; not the safe chad masculinity of Marvel, but the weird, nasty impulse of antinormies. We who created everything upon which the empire of passive comfort now services beta-nerds and half-normies.
The strategy of Christian Civilization is to provide an anchor-point of moral standard to which the weak can conform, rightfully, and the daring may deviate from in their wild years. Inevitably, it is the daring who innovate. 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, dipping into the profane from an anchor point, without declaring any allegiance one way or another. This allowed the creativity of the time to dwell in the underside to degrees stylish and impressive, avoiding propositions too insufficient of swag, those of which more catered to the weak and simple minded. This delicately balanced order which lingered into the 2000s was not meant to be defined by legislation or internalized of its form, 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 guidelines in order to live as a man. It was only the autistic minds of ideologs who felt compelled to order the retrospective under the certainty of a moral logic. This is why a lot of leftist artists fixate on enforcing a negative by hating on Christianity, aligning with Punk, a long dead fashion genre because they equate it with voting Democrat. They couldn't stand the prospect of living ambiguously, where action is dictated by the fine and critical points of flow and impulse, so set new moral boundaries into the grey zone, within which they could feel whole in accordance with alignment. Degeneracy to all of its extents became registered as a moral right per sex positivity and trans rights. No longer was the point of Sin City to be Sin City, a negative traversed by only the most rough and adept to maintain style between the lines of withdrawal and soft hedonism. The law was established in favor of the latter, and the swagger of fluid, unpredictable impulse was replaced by routine via moral conviction. But the seedier part of town is less exciting once standardized as a moral positive, for having a positive, while implying a negative simply evidences the preservation of the Christian mentality, from which a form of the latter must be present to be submitted 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 the new troongrounds, then unofficially on incognito. In accordance with the principles of Burst, Egoraptor ate shit as soon as he was faced with an actual confrontation, walking out in a pink Sailor Moon outfit. 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 grey zone of media, all underside forms became equalized under the registered value of freedoms, leaving Arin no reason not to confuse the old pop culture bravado for trooning out in front of thousands of people before a fight. He was humiliated by a Judaean veteran 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 traitorous lords of influence, as Arin and Idubbbz. Yes, the goblin and the high elf does get cucked by the barbarian. All we have to do is reunite direction with lust.
There used to be Brony cringe compilations, furry cringe compilations and weeb cringe compilations. Weebs evolved to detach themselves from this class. There were also feminist cringe compilations.
Degenerates use the term based as if there's anything right wing about normalizing pedophilia. Such a thing has historically been pushed by Marxists, such as foucault and Sartre , with leftist sexologists with the same rationalization used to normalize homosexuality and the trans agenda.
Likewise, the feminine nature of sleek, clean lined etiquette based degeneracy spiritually belongs to the Western liberal.
Although they hate to admit it, weebs opted for feminist principles such as sex positivity and women's lib in order to elevate themselves beyond ridicule. There's a reason you see anime meme shirts at the mall and ads for hentai sites on social media.
The weeb cries out as he strikes you. People like Rev Says Desu complain about YouTube's supposed puritanism while being awarded hundreds of thousands of subscribers and millions of views for their subordination to testosterone poisoning.
Remember that the next time you see some kind of ESG quota in a film or video game. I'd like to remind them of who they are politically, and where there allowances come from. The fact that its promoted by rappers isn't surprising at all, given that their genre is already astroturfed on behalf of the prison industry. It's natural and good for men to be misogynistic and rate women between each other. Feminism prefaces that men and women are equal. Girls are supposed to be part of the lads, in school and the work place, therefore began demanding the same allowances. If everyone's equal, and boys can talk about their horniness, then women should be able to get in on it too, so they thought. If boy scan talk about degenerate anime then girls can promote hookup culture, and orbit around Chad; the problem is that young men shouldn't talk about degenerate anime either. In the scenario where they don't, girls still don't need to act sexually mutual around men.
Whenever women do it, I assume its something most men don't want, but then I remember all the male artists promoting the architype.
Then I realize that these men also act suspiciously like gay guys, in how the act and draw.
A bisexual is still gay in that they interpret people, including women as sex objects, as opposed to potential parents. Their depictions are attempts at what the straight mind would find attractive. You can tell that they're gay when their preference ranges across different architypes. They will usually talk about how they like flat types, and thick types, as if they're different products, neither of which resemble what physically triumphant women actually look like proportionally, as that truthful worldly form buries any fake notion of "flat" girls, and is undermined by fictional proportions depicted by coomer artists.
The reason the bisexual can hold a preference for both, and the reason they are so disconnected from earthly female beauty, is because they are both equally synthetic signifiers of digital propaganda. Deciding they like all of them is just the same process as them deciding the like both men and women. They don't have a reproductive stake and instinct as straight men do, they're just greedy gay guys. If it isn't true then why, in all their artistic exploits, do they stealthily avoid depicting balanced and striking female physiques in favor of extreme gimmicks?
They have ruined a generation of women, for women will imitate what they perceive men to like.
Much like the origin of modern makeup, the notion of being a slut became a positive, because of influential crypto homos, sneaker males who got close enough to convince women of such behavior, while ruining them for the rest of us. It's not that most girls are prudent, and that men are put off by it, waiting for the quirky girl to break the mould—quite the opposite—modern women are sluts, and introspective men worth their salt wait for the day when that rare breed comes along, both moderately attractive and easy to be around. Bitches are not chiming with that easy going relatable mark which Andrew Tate trains his cam whores to practice—that's only preferable to fast life strategy men, those who typically wouldn't be interested in girlfriend material such as has historically existed in anime and image board culture. The only reason that genre was selected to promote promiscuity and bastardized depictions of women, is because low IQ people also happen to be beta males, which draws them to anime. The market was inflated to cater to a majority a thoughtful minority to who such material is rare and meaningful. Then it was delivered to Chads, likewise unable to understand it. Why did they have to then ruin what little we had? Chads and nerds are united in being fucking stupid. What's more easy going and relatable to be around, someone who you can trust to make your life easier and is genuinely invested in you, or someone who's constantly hopping from dick to dick?
I refuse to believe the hawk tuah psyop is anything other than astroturf, because I don't like to imagine that most men actually want it. I hold on to the hope that it's a select cabal of gay artists, probably operatives, who's job it is to create an illusion of what men want, to increase single motherhood and create dependency upon the state. To have notches on your belt is to be revered by other men. Contrary to equal outcome, the same mentality isn't meant for women, unless you're from Wakanda. The architype of women as men was naturalized so far as to reach the other end of the horseshoe. Women started off idolizing male misogyny so they too could be players. Then, without any distinction, courtesy of feminism, between the genders, low T men started idolizing this architype of women, like a full circle.
The term Himbo comes from bimbo, which refers to a female architype drawing from male characteristics. Horny autogynephiles do the same by adopting their own porn brained interpretation of women as troons. Part of the trans pshycology might come from circumcision, which was promoted by Christians to suppress maturation by eliminating a feature of the male sex organ. The circumcised interpret sex not as a giver, but as a receiver, using cream, trying not to rip their frenulum off. Gay sex is the same in that the prostate isn't a functioning sex organ, so they cannot chase pleasure through action towards a climax intrinsic to the initiative of the mind and body, as a straight man can. This proto submission to feeling may explain why degenerate art on Twitter tends to resemble delicate gay or trans Tumblr porn. I know for a fact that a portion of it descends from the inflation fetish, not to mention traces of body positivity descended from feminism. It's certainly antithetical to the art of the 70s 80s 90s an 2000s.
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 conquered 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 in the hopes that no expression ever reach the same concentration as to 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 promote hookup culture, but see the bare female form, with physical health and shape as a reference point.
Now there is no reference point other then that instances of the carnal are shameful, whether submitted to or abstained from. Within this state of play, restricted from their prime advantage, spiritual Germans are left to scamper as a byproduct of the 21st century, or easy pickings for shrewder races, tragically as it applies to the Proto-Quirky girl.
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The last of the Scene girls either became feminists to maintain conservatism from E-Slut forms succeeding the quirky girl, or joined their ranks. Scene could not have lasted forever. Instead of adapting its true 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 for romance over free-love, as belongs to the usurper.
A neo goth E girl was hanging off of Jah’s chest that time he filmed his groupie; this is how we got from Daria to Belle Delphine. 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 class and bloodlust. 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. Recall what we've achieved, then interpret which spiritual attitudes mean 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 danger. Although rare to occur, it was not the first instance in throughout American pop culture of the dark balance. This may explain why New York is so radically tame 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 plebes 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—whereas the Mafia sought with practical initiative to kill the Son of Sam, who terrorized Italian neighborhoods. On Netflix, murder is shocking, and to be spectated in miniseries by homosexuals and women, but switch the genre and it can be just another mob hit. 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.
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 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 organic internal arrival; instead, the average man is programmed by nature to be preferentially accustomed to what is signaled common and safe for discussion—this way, whatever happens to be mainstream can be programmed into the interest of the inherently indifferent masses, guiding collectives towards whatever those who implement such interests see fit, be it for the welfare of society or corporations looking to make profit. What's important to understand is that the average consumer does not analyze via feeling but by interchangeable signifiers understood as objects of consumption—behavior similar to that of a robot analyzing code. Code cannot be measured by any quality, only by quantity or mass. Like all acolytes of parasitism, junk food is designed for mass consumption—as is the nature of Skittles or M&M’s. There are two ways of eating a bag of M&M’s: one is to eat them out one by one, savoring each individually; on the other hand there are those whose nature it is to pursue the consumption of the bag. 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 synapse, or signifier of consumption; this signifier of consumption is consumed simultaneously with two more, creating one greater; continuing until the same satisfaction meaningful from one M&M is sufficed in consumption of the whole bag—and by the time the whole bag is a signifier of consumption, 200 M&M's can be eaten 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.
What they pursue is both attributes within a single objectification, a target of consumption in the pursuit of endless quantities of not quality but mass. To answer the question as to how people can remain stimulated by two separate interests simultaneously, trying to understand the motive of sensation behind such a thing is futile because there isn’t one. What allows Dual Stimulation is a lack of feeling, an immunity to the intricacies of actual sensation. The only condition by which Dual Stimulation in aesthetics can take place is for its hosts to be oblivious to either energies' flavors. The answer to the question is not—why bother incorporating two different energies, but why not?—Most people don’t have a capacity to experience and recognize the intricacies of quality because they internalize things through this broad and simplified perception, always onto the next thing, the greater mass.
The feeling which would have provided distinction is absent and such intricacies run smooth. This absence of feeling is what allows for the memetic culmination of Dual Stimulation to take place. In memetic trend warfare, quantity fairs superior in comparison to quality—which is restricted to forms enhance-able by Mass. Profit lies on the back of appealing to the majority's affinity for consuming quantity and not those who appreciate quality by meaningful sensation, such things cannot be quantified and labelled to be sold in mass. The difference between the two is that even in its reach, quantity lacks complexity along with the appreciation complexity evokes to those who understand it, whereas quality serves the interests of sensation. For its inefficiency, content too complex to be viable for the attention span of the masses is stamped out. Instead, quantity is fortified along with its dry, tasteless and mindless consumption through material goods and finely processed culture viable for the masses like mush to the simplistic instinct of a baby. The imprints of Mass’s most efficient agents can already be documented in retrospect along with the identification of their convenience to the master trend which is tasteless mass.
Something you'll notice about a lot of modern aesthetics is juxtaposition. In Lofi, notes softly swell, but run by sharp and repetitive ticking beats this. This compromises any passive aspect, maintaining a concentration of tapping, however not so far as to establish an energetic flow, as the music maintains one foot in the stimulation of monotony. Simultaneous flows cancel out the sensation of either. its a lack of feeling which tolerates the melting of respective stimuli, an inability to even taste the sensation of either.
Introspective music is something to be manifested only to its occasional but full extent. You can't streamline emotion for 10 hours on YouTube.
No one Lofi song is iconic; they just kind of blur together as a genre, side by side like products on a conveyor belt. As an R selected form of music, there's enough of them to provide more than a few streams running endlessly. An ambiguous tone strictly maintains between the lines of exertion and contemplation, non emergent to recognize either flow but monotonously running. There's nothing weird or interesting about Lofi. It isn't too deep or too casual. Whatever it is, it drones on for a while to evidence itself as a music genre. Even on the aesthetic level this manifests. Purple is its self a mix between two opposites, red and blue. when melting such basic elements together, what feeling or signal can be directed towards the masses other than an emotionless delirium. It is the nature of mass to subdue the ecstatic and cerebral. Dual Stimulation's method takes both sweet and savory, stirring both into a melting pot producing a simplistic slop to be measured by mass of its servings, making it easier to market than something representing a quality's complexity. All forms collapse and melt into a general quantity plastered on YouTube's front page and Instagram ads. Its presence in pop culture and video games evidences that the normie consumer mass need not be provided emersion or a tap into something weird and interesting, as all is rounded towards the neutral glop of purple environments. They couldn't make a Dune game without regulating that the spice mélange be changed to purple. As far as interfaces such as Discord, it seems quite clear that the point of it is to make you gay.
Binary Execution
Binary execution is the language of normies and the British, as its pattern can be found encoded within all Anglo outputs, and observed of their behavior. It was conditioned after the Norman conquest and thrown off by those who left for America. White Americans are descents of the most free and intelligent stock of each nation, who unanimously settled on speech patterns most convenient to their entrepreneurial nature. British society is based upon hierarchy. Americans communicate through nodes of emphasis, whereby meaning is detected across the peaks of volume, optimizing expression. The British mind on the other hand is based upon pre defined law, and cannot improvise within time, thus expect only to interpret from words themselves, communicating monotonously through a single peak, varying according to confidence, which for the English can come from legal authority—something which can be achieved through social cohesion. When the British feign that they don't understand a free man, it's not that they can't hear what they've said, its that they aren't calibrated to detect emphasis, only words, therefore refuse to internalize information otherwise. They could understand if they wanted, by rerunning what they've heard, but are fixed to their ways, requiring that others talk as grating as they do. You'll notice that Americans who have lived in the UK talk in a loud and unnatural way, kind of like when Brits such as Daniel Radcliffe impersonate Americans. It's called binary execution because it draws back to the very details of a slave's instinct. Some are wired to live for themselves, and others to follow orders, which is required for a functional society, however those predisposed to innovate can communicate on their own terms, as a collective of them did when they settled America. The free and daring can think four-dimensionally in the direction of their interest. The British peasant however has been conditioned over generations of subjugation to look for quotas to fulfil, progressing through each consecutively, for to see the broader picture is to optimize for ones self, beyond a prescribed task. American speech patterns are more conversational in that no sentence marks any end, as they overlap, extending into an everlasting operation. Each English sentence has to end firmly before the next. This decision fatigue leads the them to operate with a pig headed aggression in order to cope, burning them out by the age of 50. It's why you see bumbling old peasants who can barely talk in thematically English fantasy movies—it's a real thing, which those who live in the UK will have encountered. The same thing occurs in rural parts of southern America, to which belongs a population of Scotch-Irish descent. Each gesture is its own task to be accounted for, giving the illusion of a relentless work load, producing resentment from people who would otherwise be fine if they knew how to optimize. For the dynamic, a day is an operation; while your doing one thing, you're already already rolling by gradient into the next, kind of like how Muhammad Ali danced—it's not that white people don't have any rhythm, but the English. You can tell when someone has flow by their body language. When each prospect of that day's labor has its own weight disconnected from a broader purpose, each completion expects slack, which cannot be furthered, constantly blue balling expectation. For the pioneer, slack and control are gauges throughout the operation of life, like breathing. Work life balance is a binary mentality for slaves who labor on condition of the weekend.
Binary execution is also present in the faces of Anglos. The reason you can tell one from an American is because theirs is tensed up in accordance with their behavior, constantly fulfilling tasks.
The face of the American settler, who can operate casually is much more relaxed in the lips and eyes, not quite settled one way or the other, in a live state of initiative.
Anglos will confuse it for laziness, themselves constantly reeling from and back into the work mode between bouts, lifting themselves back up, as sigmas grind with a proverbial nail in the teeth. This is why men look cool smoking a cigar, or in sunglasses; its the implication that you can do something while doing everything else casually; adrenaline flow regulated by testosterone, resulting in sweat and perpetuating capability and heat.
The last example I'll give is the difference in how Brits and Americans walk. A free man can walk with a few slow strides with the ability to gauge where they're going and what's required to get there. The movement look slower, but its more efficient than people who stomp with many even steps. This is a walking pattern which can be observed in maids and butlers in Victorian dramas, again fulfilling each step as a consecutive binary accomplishment. You can observe it from people who have only the authority of their labor, moving in this almost confrontational way about people, with the justification that formally doing their job. When things get too overwhelming, they'll start dropping plates without the control of muscular slack, crashing into the breath they try to hold after each gesture. Anyone who is their own person can scale the same distance with a few leisurely strides. The difference that you have a plan, constantly aiming overhead into the future, therefore are casually effective. There is control at critical points, unpredictable by those without a flow from which all other variables fall into place. Manually its harder to mimic; the ability must come from instinct; manually its simpler to stomp like a retard. If you want an example of this difference as it plays out in the real world, there's a clip of some young mutt boxer asking Mike Tyson for advice on form. He gets into the details of footwork and uses terms implying some extraneous lore. Each time, Mike's remedy is to simplify things: "It has nothing to do with styles or size. It's all about the morale of the fighter... Is this more important than breathing, is this more important than eating?" Style is just the byproduct of channeling that instinct. It's the instinct which comes first. (𓃠) Irish boxer Joe Egan was culture shocked by how easy going Mike Tyson was to be around. This is because people from the British isles are instinctively assholes. 50% of authority in English social environments is intimidation and signal, which serves as a buffer between safety and conflict. For America, the bottom line is physical dominance, and arrogant confrontational attitudes need not apply. (𓃠)
Those without connection to their own initiative adhere to the law, external signals between right and wrong, unable to sense for themselves, constantly inhaling back into a neutral state, repressed from exhaling to except anything else. Electroshock therapy associates discouraged impulses with pain, restricting the conclusion of exhalation to quickly withdraw the psyche into the neutral shallows. Each breath is its own a faze, and not cohesive to a flow. You can destroy yourself by exhaling to except exploitative propositions as well—the discipline of men is wading through the turbulence of the ocean to stealthily select what to ride with—nailing your colors to the mast, so to speak, in which ever ways are most renewable in the long run. There is no prescribed path, but many which require not manual analysis but instinct to channel and make something out of within an integrated network of conduits to motivation.
If you look at British aesthetics you'll notice that things aren't typically for function in a stylistic way, but by a rigid sense of right in a very unstylistic way. This mentality ruined Roman history media, by making everything look renaissance and giving Italians British thespian accents. In reality the Roman aesthetic was a lot more interesting, and closer to how Italians are today.
Nor did they have British morality, killing across the empire, without a need for religious justification. With connection to a flow severed, the slave must resort to the manual process of laws and logic, manifested in the pedantic and orderly British tradition of garden tending, as apposed to actually achieving greatness. Amid the selection strategies of early nations, the Jews differentiated themselves by complex moral codes written as copious parchments, as the first people to interpret god as would the major religions. The Pagan Assyrians and Philistines didn't need to think about things to such a degree; one had mastered nomadic warfare and the others were seafarers from Greece; both testosteronous and inherently inspired conquerors. They weren't following internalized laws, but flows, from which every other issue tends to fall into place by channeling; all you have to do is chase the impulse, like flexing a muscle. If you don't have muscles, or their ensuing flow, then you have to resort to manually assorting processes with your own mind.
The Jews adopted a star formerly used in alchemy as their symbol, representing four earthly elements between its edges. This is evident of a mentality to achieve the quintessential, as a grasp for meaning, in the inability to achieve greatness via a flow of energy. Their mentality is too repressed to flex into aggression, and too resentful to retire into passive contemplation, not unlike the English with their gardening. It only makes sense that they began the practice of mutilating their children's' genitals, discouraging a prime function of natural impulse in favor of crippled introspective reliance as a crutch, and alibi for their right to exist as a chosen race of god—one preceding all, including the prospect of organic imposition. Some native American tribes have exhibited the same tendency, with those such as the Navajo with their relatively non confrontational history, while bearing to their name one of the most refined creation myths of the Indian nations. In the case of the Israelites, the association of this trait with banality is incidental, as they would find the means of imposition as money lenders for brutal early powers such as the Sumerians, continuing this tradition throughout their history. Israelites were the equivalent of the nerd, who, while impotent, resorts to sterile intellect as an excuse for their right to succeed, while the wild Philistines with their natural swagger, red feather hats and Aeruvian flow, outdid them as imposing warriors.
The Jews, who associate with the passive color blue, favor moral right over this power, as it is something they cannot harness themselves, yet betray any ambivalent potential of the limitation as they write incel revenge fantasies of their own Samson, killing hundreds of Philistines with a donkeys jaw; or collecting 200 of their foreskins; or being a little guy who beats their strongest warrior with a sling—effeminate power fantasies, directed towards Chads, yes, but introspective alphas alike, as the resented constant is strength. This scholarly fondness for specific nerdy things is something white people fall into when they feel intimidated by blacks or Hispanics. Anime is a darling to them because it's equated to the masculinity they lack in disadvantage to races with higher testosterone, associating that masculine power with what is resolved to be uncultured, in its incompatibility with a love for cartoon pictures of little girls. There are cultural values which come in being cerebral, however they may not be known by the weak who latch onto notions of higher Western intellect as a cope for an unimposing disposition. Those who are stable can take what they want from the black man's culture, or at least play around with it, with the security to maintain their own Western channels of regulating energy, without having to gravitate towards loli, or trans porn, effeminate proclivities held onto in resentment of the masculinity they lack.
Despite their holy books and customs considered too delicate and profound for a goy to understand, it's always the daring of the world who make life bearable, not the nerds with their scrolls—and those holy books aren't dissimilar to the refined interpretation of Western culture or girly anime chuds glom to.
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| John Earnest - Synagogue shooter |
The European spirit is not renaissance and classical art, which if you haven't noticed is also appreciated by old gay Anglo intellectuals.
Those Greek statues were originally painted, as to impose swagaliscious power, and can be considered akin to the strange art depicted on hoplite shields, something neglected by antiquity fags relying on an anglicized interpretation of the time, more catered to an orderly Christian mentality.
Ancient Greece and Rome was closer to the swagger of some rappers, and whites crazy enough to have weird and compelling aesthetics, pagan in their spirit, appealing to elemental prospects made fresh and tactile in their abstract approach.
Normal people communicate from a continuous frequency, and can smoothly raise volume with minimal peaks to address casual engagements with other people. How else is someone with an operation supposed to go about their day, if otherwise having to establish new attention for each little thing. The mind of the English restarts before and after every matter, which is vexing to those with a flow, as is modern technology.
The fact that you have to hear "Battery Medium" before connecting ear pods; or restarting a video on YouTube because it's been playing before you've clicked on it; how about the fact that wherever you leave a mouse a little label fades in to name whatever arbitrary node it's over; or waiting five extra seconds for a bar to go away after adjusting audio; or trackpads being on the left side of a laptop, flashing right click options in your face when your hand reaches where left click should be; it's to break momentum; the fact that throughout all of your endeavors, the task bar keeps expanding and contracting randomly, not allowing a segue between before and after you get to work, or a natural instinct to go about producing things, compounding that there is a time for work and a time for relief, and no reconciliation between the two. Look at how British chocolates market themselves, describing everything as 'indulgent,' as if the work process is so unendurable; as if hustlers have any time for indulgence—there's no such thing as work life balance for those who are their own men.
There's a connection in the trope of computer voices having RP English accents in movies, like Jarvis. All of this is by design to mangle potential flows from encompassing broad operations of ambition, conditioning attention spans akin to a goldfish with isolated actions disconnected from time by fear of interruption. Modern technology is a chastity cage—driven people cannot live without a flow, but cannot bear the impact of restriction either. It wouldn't be a problem if most people's intention really was to use it as the actors in their commercials do, by little penetrating feminine bops with a wide grin. Supposing that such devices are quality assured by the same people, I can only assume they never did so with actual work, as requires process which cannot afford for constant jolts of admiration. If Alexa were actually an ergonomic technology worth using by anyone, people wouldn't say its name as they do in the ads, because the days are long and its more human to speak monotone and casually. Anyone who's tried to use voice virtual assistant technology should know that the things are only programmed to reward exaggerated speech. The purpose is to morph people into a certain pattern of operation showcased in commercials, whereas the natural rhythm of the ambitious relies on a continuous flow. Do you know how important a flow is? In rough work place environments people develop the instinct to not settle into a static state; when you get home you can use the same attentiveness to cool down with a hand still on the wheel. This is completely obliterated and undermined by the nature of extraneous things beholden of passive elements. This can come in the form of British people eating tea and biscuits, and the soft but pedantic designs of neo-anime.
We are maintained upon the momentum of what has come before us and what will come. You can be concise in a controlled manor like a US Sergeant, while frosty of what's to come, you can be loose with a lazy grace as not to snap like an old rubber band upon impact; or if you're really in the shit, you can do everything with aggressive forces of impact, trailing of while constantly regenerating energy for the next impact. The quotas of the English rob all three of these methods of regulating energy from you, as they constantly restrict and sever the growth of new sprouts of initiative upon the regulation of each new tiny execution in speech, body language, music and all else. It interrupts the mind but doesn't allow it to recover by momentum in response to work, nor settle to its proposed isolated softness, which is to be reset upon every new engagement. A flow can only be interrupted so many times before suffering long term distortion, at which point one must change flavors, even as all new resolutions can likewise be foiled. There's a Siouxsie and the Banshees
song which described this pretty well. There is no recourse against it, as aggression is turned in on itself and acceptance severs the minds ties to overall operation. The earth is salted, and all you can do is get the hell away, burry your dead, burn the contaminated and make something new when the conditions are safe.
The autistic mind of egalitarian boy lover Plato could not endure that forms exist according to the conditions of a nuanced environment—for that play is harder to quantify, and easier for dynamic thought such as Aristotle's to ride with; instead he started with forms and tried to work his way back from them: If forms aren't the results of external requirements, then there must be hypothetical 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 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, wherever they are, to fit the demands of environmental pressure—perfect forms are the results of this. So in reacting to something you are attracted to, you are not snapped back into a state impervious to new information. Each detail of circumstance is internalized according to what dangers and or progressions may lie beforehand. Value will have meaning relative to 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 for each race like in a video game. Human diversity isn't binary; it is gradually distinguished by the clustering of many values, with gradients ranging in their effectiveness, 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 reaching across populations, to which the average example may be gauged to create a general image of what is reliable. You don't want something or someone who is the one; what you want is something worthy of being called '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 it is 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. Nothing which makes it does so for any explanation other than its weight in collective victories, which is why life is a constant grind. Forms can be sustained as far as they can compete with others.
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 specific to what their homeland rewards in accordance with selection pressures. The same can be applied to culture and community; you can feel an entire race, their ways, their signs, just from a face, as the brain lights up like a constellation to sense extended contexts, without the need to manually analyze, as academics do, the whole bowl of wax. 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 with other information and drawing connections between reoccurring features. This way you don't have to analyze consistencies manually. Rather, the process is encoded in the psyche as intuition. When people with high pattern recognition look at something they like, intuition detects features across veins 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 veins throughout it.
All this given, understand that people differ in which comparisons they draw between to integrate instinct. If male youth have powerful impulses, 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 corporate interpretation of women.
Supposing 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 weird angle which girls use to make themselves look more statuesque, while puckering their lips. The resonance of lips and a stiff neck fixed to a point is not appealing to me, because my mind is only occupied with filling in the blanks of the body in movement, day to day; it feels blue balling to see women assume a restricted expression, just to make their lips look pathetically bigger. The reason I hate modern makeup is because it's not designed to emphasize movement; in fact, it probably melts off easier in a dynamic environment, not even with that cute runny eyeliner look from the 80s and 90s. With older styles, it doesn't really matter, because the lining is broad and vague anyway, basically maintaining 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 whatever they signify actually interacts with the world. Some may have at one point extended from a capacity, generating different outputs as far as they were still live, but this is not necessary for masses of people who can't detect pattern recognition. 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, unable to sense something in its entirety; they can never see the bigger picture. The end result is body horror.
What such people are doing is called seeing the trees through the forest, binarily honing in on to what they are only sufficient to internalize as individual details, in accordance with the encoding of their law abiding ancestors. Everything impressive was made by a freethinking antinormie. The reason everything sucks now is because normies are promoted to make things catering to what is the larger demographic of their own kind, and not those with introspective traits. Of course their going to do every thing consecutively.
This can also be exemplified basically in the dichotomy between ass and tits. Tit guys are inherently low IQ and binary in their thinking, unable to see the forest of women, instead focusing on consecutive details at a time. The ass is not an isolated feature of the female form; it extends in movement and context into the legs and the hips, forming the female figure, from which the majority can be gauged. To the low IQ, tits are an isolated feature which can be disassociated from women and measured purely by mass, which is a simpler metric for marketers to sell to majority consumers. Tits can, though need not, be apart of an extended context, or vein as far as female character.
They cannot see the broader picture, which undermines those rare and precious individuals who possess actual beauty perennial with genuinely supporting men, as their value is equalized like the tallest poppy, brought to the level of a common R selected libido strain promoted to prize mass over form for the efficiency of low IQ consumer units.
To them, homely women are just a lesser version of a cheap value inflated within the hypothetical realm of art, without any vein into reality or wholistic value as of a true spirit.
Like Satan, the Crypto-gay guy artist on Twitter has contempt for women and the female form, seeking to distort it. Where to earlier styles, the effect of feminine features was form in shape, their interpretation's effect is a lack of form put to different varying degrees. For them, the mammary organ is disembodied as its own entity from it's broader context, which is where we find a juxtaposition between mature signifiers and infantile faces initially marketed to appeal to low-T men intimidated by women.
These values of data moved around and applied to each other without a commanding soul. From there on, in accordance with binary psychology, the only notion of value can be mass, or quantity over quality in shape, by which true, proportion, health and beauty of the female form is defined—for without an extending body as a reference for measurement, size is abstract, but shape persists, as does form against all other conceptions of mass.
Dual stimulation collectivizes all traits within the same internalization, replacing sensation with the gratification of fulfilling a gesture. Twitter artists may not notice with their smooth brains the different veins clashing, but the history is baked into their outputs.
You can see the point at which the Japanese adoration for youth was copied, still intact with the expressive linework perfected from the orient to Newgrounds; then the coomer mentality dumping all over it via a normie's logic as to how a foreign component of R selected output could be applied as far as its raw status, and not through the currents of a metaesthetic. With their standard in-place, all the value of female effect needs to do is base itself on the question of how much.
The female form is removed from women, then separately internalized as an entity in itself, to be applied to women, as a universal measurement of worth.
Anything which was striking about the female form is flattened, then made bigger. Instead of going for a nice shape, it’s always a singular round mass ending at the waistline like a gut.
The method by which a real artist draws a beautiful woman is perennial with the same method which mother nature used to condition them into existence, anticipation throughout channels of reality adhering to health.
I would argue that a certain people who have historically imbedded themselves within other cultures are incapable of channeling their own organic flow due to their duel identity. They can't tap into the channel of western beauty because they do not belong to it 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, by plastic surgery or otherwise, 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 in a narrative sense. They are forever trapped in a limbo between being authentic while too ugly to be likable, and mimicking the traits of their historical antithesis to maintain even bearable PR.
Aesthetic Dissonance
If you look at films set in the 50s you’ll notice that everything tends to be integrated. When you have a Metaesthetic guiding culture, all aspects of life, even in their differences flow from a spirit, generally blending in with one another. They’re different but cohesive within the same plain of feeling.
Later in the 60s you start to see clip out art on album covers, and clean blobs of color made 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 only vibe to the quirky 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 metaesthetic was present even within the trivialities of the mundane. Film Noir carried itself as an ode to the mundane during the great depression—disillusioned, raw, down to earth, the grimy streets—but even then, that feeling extended from the gutters and up into the 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 World-Feeling. For us, everything is separately managed; separately produced and separately consumed by separate modes of captivation. When you’re operating with signals it’s the only way you can continue society, applying consecutive 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 aspect to one another. We see this happen with anime. The weary joke of meme-queens is that the aesthetic be placed 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, conflict, music and the very concept of the aesthetic itself becomes natured as product, 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.
An A E S T H E T I C, as in a product. Today the 60s style comes off as kitsch and primitive, however the aura of the 50s seems closer to futurism then anything those Star Trek sets ever displayed.
Namely because the style of the 50s was one with the darkness, so didn’t have much to lose in contrast to the elements. A green glass 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.
The principles of aesthetic dissonance appear most strikingly in architecture. It goes without saying that old cities were stylistically cohesive.
The New York of the pre 60s perfected art Deco, and even when the utilitarianism of the age outgrew its artistic aspect, the environment was still whole.
Modernistic buildings detaching from the sculpted past still materialize a wilderness of concrete integrated to create a cohesive environment, somewhat natural to the elements. This can be seen in films from the 70s and 80s: Sea of Love; The French Connection 1 and 2...
Beyond even this triumphant aesthetic I personally have a place for glass jungles of a certain context, because they remind me of being a teenager when people were getting into the Japanese aesthetic before the weebs fucked it; I liked it because the soft society it implies is easy pickings for someone who's intelligent enough to learn how not to be a pussy. Wherever the environment is like a Japanese romance, it's fun to apply the sword-theory of Western forms within it.
Utilitarian infrastructure can still be as geometric as Art Deco, without the restrictions of meticulous refinement. The British take on this was brutalism, which draws influence from the Soviet Union. But even the Soviet Union didn't resemble square Jenga blocks.
Even though the style is meant to be mass over form, there's something artistically pedantic about it, where as a high-rise can at least look like something from Ghost in the Shell.
The weird shapes evidence feats of skill, only in a direction neither stylish nor utilitarian. Leading on from this is a form undermining both Art Deco and Utilitarianism. If New York pre 60s is form over mass and New York post 60s is mass over form, then the modern neoliberal style is mass and specific form over the aesthetically cohesive. They are in shapes such that they can never blend in with the skyline of their predecessors.
The student blocks seem by design to disassociate from their surroundings, with squares being slightly different colors. The material and design makes them look like playmobile houses.
A church, or the empire state building for that matter, gets slimmer towards the top, optimizing its ability to reach for the heavens. Both churches and Art Deco budlings are overshadowed by London's Walkie Talkie, which gets slightly thicker at its peak like a choad—Just a flex to show that they can make something autistic, which looks like it should be small, larger than the grand towers of the past by default. The shard glows red at night mimicking the eye of Sauron, but even the source material was more geometric.
Having random sleek shapes scatter a city just evidences that the people with the means to make structures of impressive scale have not the intelligence to contemplate definition. Its the equivalent of making a shape in blender without the skill to give it complexity, which is ludicrous considering that there are Japanese game and anime artists who have depicted more impressive cities, while those positioned to do so in real life appear as laymen.
The sick part is that usually when something is ugly the flip side is its cheap and dynamic leeway, but the structures seen in modern European cities are grand feats of architecture. This comes from a trauma of the British psychology, originating from binary execution, which is the compulsion to be pedantic in the creation of specific forms which are ugly. A classical example of this would be Christmas pudding, which tastes like bitter puke, but is upheld for the sake of convention. The same applies to Mr. Kippling cakes, and the art of Quinton Blake.
As a white man, you're supposed to sculpt an image with a gradient of varying pencil strokes to gauge form. This can result in a scratchy style of imperfect lines fluidly conveying expression. The only way to capture the powerful is through momentum.
Classical Japanese art is the opposite in that it employs the precision of the artist to execute perfect strokes without this rustic European thrashing, which is fine provided the artist is as precise as a Japanese person. The feeling is epitomized in the art of single stroke painting.
This precision devoid of imperfection can also create clean generic anime art which is disposable, and closer in form to the classical art of the Chinese.
Usually precision is bypassed for style and expression, and used by the pedantic to make things of a high beauty. Seeing an English artist pedantically use clean precise lines instead to make something ugly seems so typical of the English psychology. As if everything has to be a certain way, or of a certain convention even as it isn't worth upholding. The fountain pen is similar as a tool to the brush of the Japanese in that it limits the range of stroke minute intensity, as belongs to a pencil, instead operating with blotted consecutive strokes restricting the ability to steer from one bout into the overall sculpting of the rest by many tiny imperfect lines. What we have in the Japanese is few perfect beautiful lines executed with control; what we have in the English is few ugly lines executed with control.
The feeling is similar to the zen of the Japanese with their tea ceremonies, of which the British practice in a similar way; however British desserts are awful, and unlike pocky, not worth the zen for how rich in cream and sickly they are.
The better manifestation of the English impulse comes in the form of ships in bottles, originating from a masculine maritime culture connected to the rough elements of coastal communities, and extending out into the frontier.
It's when they try to make things cute is where they fuck up.
To digress, buildings spawned of an autistic neoliberal mentality stemming from British trauma aren't aesthetic, and they look even worse when planted within a concrete environment retracting cities from Gotham and or Ghost in the Shell. Similarly if we look at something like TF2, you’ll notice color consistency and stylization; 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 the reach of its personality alone. I could not tell you how many Overwatch characters there are, let alone their names, and I find it hard to visually distinguish from Valorant Legends. If TF2 is a forest, then Overwatch is a bunch of trees, because that's how its designers binarily perceive the world of aesthetics.
As far as I’m concerned all of their characters just look like Tumblr bloggers or male gay Instagram models.
TF2 is a game for men, and people without a male sense of humor who need a princess aesthetic are gay.
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.
The Millennial 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 serves 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 zoomers is the lordship of this feeling-less quantity. 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.
As it applies to communication through speech, nodes of emphasis command the communication of classical forms towards the intelligent. They prompt stimulation in the mind and body, adapting in real time through familiar synapses at critical points motivating initiative. This applies to when forms were integrated with movement and the capacity to do, the mind giving over receiving. Receiving began to be incentivized around the time self pity was being glorified as a social advantage by the likes of Joji and Xxxtentacion, later adopted by Idubbbz, with Lofi and trash culture as a portal into all other aesthetics. Make no mistake; receiving is inherently gay. As I mentioned before, the circumcised dick has to brace for impact, with it's own prime organ for movement severed. sensation for the uncut is something generated through autonomous surges of movement throughout time, in correspondence with foreign flesh. You move depending upon what stage of the motion has come before by a rhythm, without an internalized beginning or end, perpetually determining in time. That's the essence of what it is to live through a flow, and why human beauty in particular is perennial with every other facet. It is the submission which braces the body for incoming information, as opposed to an autonomy which fronts and corresponds with information. Forms which tap into the flows of active metaesthetics require people be in tune with veins of extended context. In the interest of profit, this ability is a snag, and the imposition of raw universal notions of status disassociated from the rhythm of the body is more lucrative, provided a population be geared more so to binarily receive signals, than to be integrated with a flow throughout the progression of time and space. You can track how this principle effected changes in Millennial aesthetics. The ultimate initiative is that to reproduce. Show me a civilization's feeling in women and I will show you the inner fabric of its soul. It will forecast everything else.
For 20th century antiquity, and even up into the mid 2000s, the striking points of the feminine contrasted themselves as that from which it is not.
Modern makeup is the complete opposite. Of the E-girl, the effect is flat, as the emphasis is dispersed.
There is no grand definition between one feature from any other; all variables blur into the same insignificance.
Not to mention the Broccoli Haircut on men. A perm keeps hair static like a Brillo pad, and unable to move dynamically with the elements. it's binary nature means anyone can have it, equalizing the height of desirability in fashion down to the swag of the most basic bitch.
The same pattern can be applied to all things, each with their own correspondence with psychological mechanics of human activity.
Imprints of Mass
Humans communicate through nodes of emphasis, a mode optimized to spare people from having to scan through unnecessary information. In aesthetics, certain points are meant to catch the eye, making it quicker for the brain to associate given forms with a creed and world feeling. Post 2000s aesthetics are the opposite in that their contents are equalized without any point of emphasis whatsoever. This comes from an inability to design with a broader picture in mind, honing in on menial details to such a degree that people have not any signal to receive, other than a logical understanding; to perceive but not experience. This mode is per the favored mentality of Mass cohesion, requiring only a perfected capacity to follow cues, wherein the ability to inflict creative thinking within the public space is purged with saturating forms antithetical to such an instinct, present in all facets of culture. Its visual effects make sense for neo-emos trying to emulate what it feels like to be on Xanax, people who interpret the fatigue upon the system as a sort of lavish flex, however what's being expressed is a world feeling responsible for depression, suicide and disorientation suppressing the direction of young men and women to tactile realization.
Having lots of everything spaced out evenly amounts to the same affect of having nothing. It comes off as even and flat, not unlike the pastil backgrounds commonly used in both corporate advertising and internet trends. It's vapid nature can also be sited as stylistic simplicity in place incompetency, evidenced by the decline of impressive album covers.
Zoomers explore different aesthetics as if they've been around the block, but they're all just the same generic blurry faced weirdos, which is why they end up as ad on the side of YouTube.
If you really want to categorize forms, you have to detect the route feeling from which they are spawned. 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 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, while 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.
Trends of vacancy are even present in the appearances of those host to them—Something millennials should notice while using social media is a commonality in the way people tend to present themselves when taking selfies. Depression and anxiety render millennials reluctance to smile in front of a camera, but at the same time wary not to come off like a mid 2000s emo, since South Park made it unpopular, compromising with this awkward, vacant expression.
This is why even prior to the Corona Virus, sporting stylized Japanese cold prevention masks has long been a trend associated with anime infused genres like Lofi and Mumble-Rap. Wearing a mask is just a more efficient way of evoking blankness, accompanying the nature of such trends. This facial expression and its vapid origin isn’t exclusive to people who take selfies, but exempt in advertising targeted towards the demographic.
(Even the baby appears to have more emotion—notably confusion from a fresh perspective yet unclouded.)
How many weird National Geographic-like covers or clothing line photoshoots are there featuring this creepy perception of human behavior? Commonly accompanying this is a consistent use of blank color backgrounds, typically of pale, desaturated hues evoking a delirious atmosphere similar to the sleepy demeanor of the models standing in front of them.
Even in modern advertising's select art style, facial expression is consistently obscured; and as if by coincidence, blank backgrounds and soft colors are a staple of Lofi.
Consider Japanese text in aesthetics. It might look cool but who can actually read it.
To English speakers, the text may not convey any meaning, but that's because it's targeted towards people who have been conditioned not to expect the sensation of a quality; everything is blank like the people who rep it. Now is the age of George Ezra and Ed Sheeran; their expressions are not of joy or sadness, they just sort of are.
It's the expression which beanies, bucket hats, sepia filters and shit music were designed to accompany.
As for who won the 21st century, Punk or Bohemian—they were just interpretations of the same liberal values bestowed upon the western normie, now available in soft pink.
Quantity Efficient
Anime
As an agent of Mass’s aesthetic pantheon, anime holds a monopoly of influence over western culture far broader than its prior reach. Prior to this state existed a separation between western culture and millennial dabbling into anime; it was and to an extent still is something you don’t introduce to your grandparents. Yet anime otaku magazines continue to crop up next to National Geographics. 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. 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 human stock of anime’s perpetuation consists of the weak, drawing them towards child friendly imagery with characters drawn accordingly; the same weakness simultaneously draws them to associate sexually with physiques reminiscent of their own, generating an artistic mimicry producing consistent anatomical forms mirroring those stout and chubby of both the projector and their target audience. Sometimes they try to interpret it as being busty.
What needs to be understood in relation to its conquest is that the style is restricted to a set form mirroring the physical realm's confinements. Instead of manifesting the energy of human forms into stylized expression, it replicates the physical realm generically. Faces are depicted as the same cartoons within a world of realistically predictable elements, levelling them back to logic's domain. The same force which drives such artists to portray animals with logically is the same force which drives them to draw people according to a unanimously agreed upon code between artists.
This predictable law of physics is by design to be universally grasped by animators under the conditions of slave labor only bearable by the Asian mind.
Its worldly confines also make it more applicable to the 3d plane, extending the same standardization into the world of games and vtubers with models predetermined in their movement, joints moving expectedly without any stylized expression—dentical doll-like templates for people to apply a given theme to.
What this demonstrates is that duplicatable presets are more efficiently perpetuated, and that a mindset which can adhere the rule will expand with greater ease. The final destination is the figma.
What could be a more ultimate way of fixing something into a set stasis? An empirical drive towards a meaningless completion; the end product of a nature devoid of gradient or momentum. Anime’s predetermined law of physics is developed in confinement to set forms viable for mass production; it is Mass’s most affective agent in the department of human portrayal.
As far as most people are concerned, there is no such thing as an artist from Japan, only an anime artist. When an entire country abides by one art style, it’s easier for new artists to copy what has come before instead of developing their own philosophy. Where as a standard can be mass produced like plastic bottles, individually developed styles are harder to sell and on a deeper level rarer to arise amid a climate of artists who mimic whatever they see most often.
Something which was interesting to me growing up was other kids dabbling with drawing anime. What always stuck out was the mentality to fix on the style in particular, as opposed to generating self sprung individual styles. Big imperfect mimicries of frames from some show taking up entire pages of A4. It's as if you could tell what kind of person they were going to end up being in adhering to facilitate a prior image as apposed to making their own thing, that they would be the ones to be moved by others as we got older.
In scribbling small expendable doodles, children produce by way of something from within them, channeling their own world-feeling into ever fluid manifestations which cluster as a style. People who draw anime don’t generate by their own body's inspiration or energy, for normies cannot create, but copy what is before them. The problem with this is that without their own flow they cannot visualize drawings wholistically, fixing on specific lines and measures of cleanness regardless of the full drawing’s context, again, seeing the trees through the forest. Instead of translating energy onto paper their intent is to create a perfect copy; of course amateurs can’t copy for shit, so you get these large portrait-like things taking up entire pieces of paper, with malformed proportions, but perfectly clean lines—atomized strokes, drawn without any feeling of wholistic form, something which can only be channeled through energy.
This interest to produce one depiction set on an expensive sheet of paper is the normie's instinct to conform with the best of their ability to prescribed mandates. It is the mentality of Indians and the Chinese, whose only recourse to greatness is calculating of menial details their best form, as if the world's most professional piano player, or the most pushups in one bout is impressive to anyone. Somebody may have copied with detailed precision a character's eyes, it's just that they happened to do so about three inches from where they're meant to be.
It reminds me of the fallacy that there's no such thing as talent. Anyone can get good at a standardized art style through practice, but that's skill, not talent. Talent is unique and can spawn interesting styles personal to the artist. The end result of regular people honing skill is dozens of interchangeable commission artists, who's tutorial videos can be seen on YouTube.
High end anime art is just the same people with more experience, corresponding with the atomized signifiers of what they've seen in art before them and photographically, in the real world, producing an evident dissonance baked into their outputs.
There are many identical templates. All the industry standard anime artist can contemplate of the female form is a consecutive measure of quantity, internalized separately by the binarily minded.
Most people might not notice, but what they're doing is rescaling breast size from photographic memory, whereas the shape stays the same, continuing this disconnect between sex and the skinny doll-like physiques they use as templates.
Thus other foreign aspects from the West can be applied to the oriental forms they mimic.
Nostalgia’s Signifiers
and their Original Energies
A side effect of binary execution 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. Nowadays this need promotes degenerate 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 center 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 is trying to grant to its punk-based established archetypes.
The meme progressed from a young looking blonde guy to having a beard—coming across as stale and stiffly conservative to the eyes of millennial youth.
This generic characterization of traditionally owning a farm with a wife and kids is dry and flavorless—which is why it's memed into existence as nobility's primary characterization by people who reject nobility itself. It is a degenerate's perception of what nobility is in opposition to a Crunchyroll subscription; but people shouldn’t be rejecting it because it isn't "wholesome", they should be rejecting it because it’s gay. https://www.youtube.com/watch?v=JvAtnZWz_6A
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 Vaporwave 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.
This is the fate of a fashion which holds its interest in the moment and personal pleasure—because the universe is not subject to individuals and their feels; those who think otherwise are doomed to be left after having splooged to try and define and make sense of their “moment” after having passed. What they desperately try to do is conserve that nostalgic sweet spot, but they can only dissect and or worship the visual and musical outputs of the past. The process of human expression begins with a feeling which arises in contrast from something else, this feeling is chased by the host who produces reviewable outputs in art and media; then, once the energy has burned out, the host is resorted to feed off their own outputs in worship of dead and withered monuments; however without a legitimate source based on timeless meaning generating energy, this worship is futile—at which point the trend dies with the age of retrospective study ensuing—the flower sprouts, flourishes and dies. There is a solution to be found of this study in pursuit of reviving depleted trends however it will not work for all, especially not those of punk’s model, or any rejecting value as its value. You simply need to look at a trend’s life cycle and trace what punks would call its moment back to an origin. A trend’s moment or energy cannot be picked up to be used like a boomer putting in an old cassette tape; energy must arise; it must spring as a reaction from something else, as is the nature of plants and all other life on this planet. Punk negated things like Disco—this is the defining of its energy; the problem with this is that Disco needs to exist in order for punk to arise from it. Punk cannot be kept alive through maintenance of its energy because its energy arises once from something which must be rejected after negated from as was Disco or whatever they rally against. A surviving trend’s heat aspect must arise from something part of itself—something considered righteous of its trend. Heat arises from cold foundations; to survive, an interest must be placed in a source energy as it exists beyond time from Punk era to retrospective documentary. Unlike either, energy proceeds such signifiers and has the potential to produce outputs through its harnessing by man. This formless heat energy must be held over the mortal outputs of signifiers; it produces mediaeval castles as it does sky scrapers and technology. The nostalgia which punks crave is energy; this energy must be put aside in priority for discipline so it can properly arise in a fuller flavor contrasted by settled organization. To truly survive, the concentration of a trend must not be upon the heat of its outputs but the cold from which heat arises—meditative concentration and discipline must be its heart, only then can energy or heat arise from its primary bass. To maintain this order, interest must not be in outputs, but stoically in understandings of ultimately serious sentiment—value in beauty and pacifism will serve to aid this. Only then an interest in these values will provide a right to movement in expression; this expression must not stray from its cold origin, otherwise rot will ensue.
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.
An earlier example of when culture relapsed from an aesthetic pantheon of glory was when the pre 60s frame of reference deteriorated to be replaced with mundane consumerism, as apposed to the stylish consumerism of the 50s. By 60s consumerism I mean the Eucharist of free love and drugs which served as a vacuum drawing people from their prior placement within the 50s plain. I used to resent this, but now I realize that in order for something new to grow, grounds are only fertile in their purity from form. The reason I make note of this is because the same cycle seems to be playing out in the 2020s. The 60s were so spiritually sterile on account of people preoccupation with new personal freedoms, that carnal impulse, then restored into it's seed state of perpetual potential, expressed it's self fresh from plain grounds, equipped with down to earth cynicism. From First Blood and Rocky in the 70s, this capacity germinated further into its 80s expression, accordingly spawning First Blood part II and Rocky III. Our current equivalent is the former glory of YIIK aesthetics. When 80s pomp became pretentious, it was withdrawn from into the 90s, with Nirvana and South Park. With the collapse of every aesthetic kingdom comes the questioning of power: When Europe was broken from the great war, and there was then nothing to lose, it hung loose and free in Weimar Berlin without having to worry about desecrating anything sacred, while dabbling in political theories, some of which seriously threatened parasitism; when the last of what had crystalized from that frenzy of initiative deteriorated, people dabbled, social issues during the 60s, an energy utterly curtailed by power structures; people did the same thing in the 90s—this belonged to the left, but was nonetheless closer to the mark, with governmental and corporate slips such as Iran-Contra bare to be referenced. As the passive 60s withdrew from the 50s, and blossomed into the energetic 80s, the passive 21st century withdrew from YIIK, which although awesome has run their lifetimes, and is now blossoming into what will be the most aggressive generation yet—for now that all forms have been dabble in, the most creative thing left which can be produced is a Molotov cocktail through a window, not one in a movie, a real one. Real damage is the only thing left to tantalize people. The difference between our coming burst and those prior is that for the first time, some very few circles are dead on target, and have chronicled accurate takes on platforms without censorship. History has been a slow progression, but with each cycles people have gotten closer to accuracy. Now it's only a matter of time before the next burst, and this time all will be available with immediate evidence, truth ever quicker than coverup, and people less and less distracted by old entertainment, only sustained by real damage. So get excited; this time it isn't a dud; we have the internet as a weapon, so they aren't getting away this time.
Full Circle
After the expiration of an aesthetic pantheon, it's receptacles go with it, and the western psychosexual psyche must reinvent itself in a new form. During the noughties Kalpa this interest returned to the youth, with media like Twilight. As much as girls liked it, boys liked clowning on it, which is itself a rev of the hormonal engine in solidarity for impulses antithetical; or potentially as a correction to its flaws, in repressive intrigue for what it could offer. What it could offer was a low key stimulant for young men who identify with the selection strategy of charm and romance, tropes also common in anime. Before you doubt me, consider how prominent anime is in male interests today, albeit warped.
Twilight is a tap into female psychology of the 2000s; and its Formus is inherently flawed. It explored the feminine impulse to play the field with the rivalry between the two love interests. One is skinny and the other is buff, but the game is rigged from the start because it's written by a fat femcel.
The vampire is refined and gentle, so to contrast that, the American Indian guy is forthgoing and rough around the edges, however both characters have one-itis for the mid protagonist. It's just a hypergamous power fantasy for beta women, manifested by architypes which would never have romantic singular interest in a flat quirky girl. That is the reason it was scorned to a point where doing so itself became a tired cliche. However there is still a kernel of positivity in romantic media aimed towards beta women, primarily because they are ideal partners for introspective men who study their forms to manifest the desired male architype. Twilight imploding into a polyamorous scenario in favor of female greed collapsed it's potential towards this end; that, and the flowery traits of its architypes were ripe to be ecstatically withdrawn from.
Accordingly a direct negation of the form, and amplification of its positive potential ensued, both culturally and directly when a woman wrote an S&M fanfiction of Twilight. Presumably the further the form was refined the further it drew from it's prior integration, so she changed the name to Fifty Shades of Grey and recalibrated it as its own entity. The beast had metamorphosized for better from it's snagging restraints. What remained was the cerebral capacity of introspective men for singular and obsessive affection, now fortified with divine notions of possession; domination and submission, as nature offers it, bare and irresistible. Frankly it's a good influence on women, and a convenience for introspective men (otherwise antinormies). As it surged in withdrawal from the Twilight form, so too did other facets of the trend from their own Pupa states.
The saint Jeff the Killer pulsed teeth from the boyfriend architype and ran with acolytes in the pubescent interest of danger, one psychologically perennial with hormonal discovery, guiding it righteously through themes of domination and violence, fearsome stimulants manifested as Creepypastas. That is why despite few slasher villains being handsome teenage boys, the urban legend guided its creed form Twilight, into a charged receptacle of the divine impulse.
These forms declined along with Scene during the Plainmeld, lingering as late as 2013, it's vein never fully extinguished, tapped into by renegade zoomers and those still young as it developed.
My theory is this. The carnal humors of millennial impulse dabbled in forms during the noughties, which were advanced in the 2010s, before being outcompeted by antithetical forms which equipped themselves with the means of degeneracy as shock value for integrity. The lingering vein of what was bypassed in the mid 2010s will find itself as disillusionment sets further in, life becomes immediate to consequence, and people need firm values grounded in nature to hold onto. Robert Pattinson was someone weird enough to act in Twilight but, also grounded enough to hate the role. In a way he is one of us, or at least a representative subject for the disposition of antinomies, more than fucking Ryan Gosling. In Twilight he mantled an architype which was signal to reliable antinormie breeding stock, who have since been tricked into becoming E girls. But now, as has been scheduled for our decade, he will continue his mantel as the Batman, an iteration representational of the old boyish architype which belonged and still does to our young introspective kind, adapted, once more within a rougher climate. Where prior generations' uses of the tired franchise have attempted to create dark media, the only thing which can truly impress now is rebellion, hence its many references to the climate introduced since 2016 or thereabout.
The Batman made references to the fentanyl epidemic; it was gothic, but had the Riddler on a live, like old red pill meme accounts before they were nuked in 2017 and replaced with trans propaganda. This was the establishment's favored alternative, an edgy outlet to regulate carnal humors within safe conditions. This time there will be no safety.
Once again the male zeitgeist will dip into the threshold of danger, where others would cling to the safe and familiar. This grimy night scape will avenge the nocturnal aesthetic between Japan and the West pre 2016. I advise people to get excited, and ready to ride the coming demand.
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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
fuck 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