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 Beauty, Art and Appearance

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OhFortunae

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PostSubject: Re: Beauty, Art and Appearance Sun Mar 15, 2015 7:31 am

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As a black girl growing up, I found it very hard to appreciate my body and its African Trademark(s) because of what the media told me ‘beauty’ was.  
All the sexy ads, TV superstars, music videos and basically everything that was about ‘hot girls’ had an image of a tall, skinny woman.  
Being a young black girl, with a bit more curves (even at that age) than most of the women who were celebrated as beautiful; it was hard to look into the mirror and accept that I was also beautiful.  
In fact, I spent many of my primary school days thinking I was fat.  
Having been short my whole life didn’t assist in dispelling the notion of my roundness at all either!  
Although I never tried drastic weight-loss mechanisms because I was fortunate enough to have a strong personality and the will to be great in other things that don’t include my body; it was still very hard to have to wrap my head around the fact that I will never be ‘beautiful’.
Even when I did lose weight, because I went through a very sporty few years, I was still ‘thick’ (as they now call it).  
I never got skinny.
The humps and bumps were always there.  It was just who I am, and the media was telling me it wasn’t beautiful.  
It was a bit frustrating.

It’s only in recent years that the black woman’s body is celebrated and accepted to represent beauty. I got introduced to Nicki Minaj and her music in grade 10 when she was still dropping sick mix tapes and one of the most notable things about her was how she brought the ‘big booty’ to our media and forced the media to accept that as ‘beautiful’ as well.  
Anaconda captures that whole journey in one muvid.  
This is revolutionary.  
Ironically many women saw this video and wanted to look down on Nicki as tasteless and without morals because she’s showing her ass the world.  
These same women see your Paris Hiltons and whoever else is supposed to be a hot super model doing the same thing on public platforms and don’t even flinch because it’s ‘normal’.  
So it is more acceptable for a woman with no ass to be showing ass, but if you have ass then you must be ashamed of it? Now I am not promoting the idea of less clothing and just flaunting yourself with bare minimums, I am just saying that if you can accept such from small assed women, why can’t you accept it from bigger assed women?  
If its 2014 and you still watch music videos it means you see ass all the time and have accepted it, don’t act so touched when it’s a bigger ass. This is pretty much the response Nicki gave in all her interviews about this.  
It shouldn’t have even been an issue in the first place, we see ass all the time.  
We are even used to it now, but when it’s big we must question the morality of displaying your body on public platforms?  
If we are going to have standards, let them be universal!

Personally, I have felt so much more liberated.  
I have even been rocking proper shorts for the past few weeks without worrying that they highlight my ass too much; something my thinner friends have been doing for years, without having to think twice.  
It is not my fault that I have semi exaggerated hump and bumps, I shouldn’t have to feel apologetic about how certain clothing enhances those features, if it is not a universal woman struggle.

On the contrary, Anaconda was not a license to make women who have smaller asses insecure about themselves.  
The whole “Fuck the skinny bitches”, “Fuck you if you’re skinny” part is really unnecessary and backwards.  
(Yes she didn’t have to grind on Drake like that :””D)

I feel that as women, we have soooo many struggles as it is, can self-appreciation please not be one.  
We have different physiques that I believe we should all love and appreciate.

I work hard for my body and if I want to show it off I will! That gives nobody the right to look down on me as a seeker of male attention or cheap or whatever else people say when women with shape wear shorts, but not when skinny women do.

I will feel beautiful in any and everything I wear because flawlessness is not a look; it’s a feeling that I will be embracing a lot more often.  
So ladies, let’s do ourselves a favour and start feeling beautiful for ourselves instead of looking at other ladies and how WE feel they look…that is none of your business.  
Our business is our own bodies.  
Our temples, ours asset, gifts…beauty!  
Let’s cherish that.

Asses detached from the person, twerking and forcing themselves upon our senses.
How beautiful..
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PostSubject: Re: Beauty, Art and Appearance Mon Mar 16, 2015 1:24 pm

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''Those who look for beauty in art are simply out of touch with Modern realities.''
As the Moderns will say.

Interesting documentary; from Beauty to Originality.
From Beauty to Utility; if reversed, thus merely for utility, economic purpose, than it will lose all its purpose.
Beauty reminding us of non-economic purpose.
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PostSubject: Re: Beauty, Art and Appearance Mon Apr 13, 2015 12:51 am

"Orpheus the Shaman"

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PostSubject: Re: Beauty, Art and Appearance Mon Apr 13, 2015 2:03 am

Thank you Perpetual.

You might like to read on the [You must be registered and logged in to see this link.].

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Beauty, Art and Appearance Sun Jul 12, 2015 4:06 pm

Lyssa wrote:
@Perpetual, I haven't managed to read all your links yet, but speaking of Woman as Be-ing, and Eurydice, more properly, Eury-Dike - "great Justice", Heidegger uses the Anaximander idea of flux or "becoming as a penalty paid" with Orpheus' dis-memberment in the "face" of eury"Dike"; interesting paper:

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Beauty, Art and Appearance Mon Aug 24, 2015 12:01 pm

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Beauty, Art and Appearance Mon Aug 24, 2015 12:13 pm

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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OhFortunae

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PostSubject: Re: Beauty, Art and Appearance Mon Oct 12, 2015 11:36 am

Through art you direct the people upon an Ideal, never to fullfil but as a means to live up to, investing your mental and bodily energies upon the reminding inheritance and future desire.

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PostSubject: Re: Beauty, Art and Appearance Mon Nov 30, 2015 1:58 pm

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PostSubject: Re: Beauty, Art and Appearance Mon Nov 30, 2015 7:32 pm

"Symmetry is the opposition of equal quantities to each other; proportion, the connection of unequal quantities with each other. The property of a tree sending out equal boughs on opposite sides is symmetrical; its sending out shorter and smaller towards the top, proportional" (4.125-126). Proportion, a relationship of changing, developing things, creates the unity of sequence, while symmetry, which is static, creates opposition and balance. In other words, proportion is kinetic order, symmetry static order. Ruskin emphasizes that this necessary "reciprocal balance" is formed not by the opposition of identical things, but by things which balance each other: "Absolute equality is not required, still less absolute similarity. A mass of subdued colour may be balanced by a point of a powerful one"

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PostSubject: Re: Beauty, Art and Appearance Wed Dec 30, 2015 2:54 pm

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Beauty, for men, increases memory.
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PostSubject: Re: Beauty, Art and Appearance Sun Jan 10, 2016 3:05 pm

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PostSubject: Re: Beauty, Art and Appearance Fri Jan 15, 2016 1:56 pm

The power of art is such that it evokes forces more timeless than the times one is thrown into, that even your enemies dont want to destroy it…

It shines past beyond race, creed, religion, to even a higher reality principle that you can't but resonate to that deep past within you. Universal art does not mean that distinctions are neglected so as to cater to all, but that it speaks and shines even through all that. In other words, the common denominator is not the lowest [popular art], but the highest of a shared reality, a cosmopolitanical truth.

Greatness in some individuals is also the same. Even the most detested cannot be helped but admired, because they shine with a light, like a piece of art themselves, evoking and touching truths that well in you from a timeless past, sometimes beyond your control, and borders of self-preserving comforts.

On the power of art beyond Xt. oppression/suppression:




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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Beauty, Art and Appearance Fri Jan 15, 2016 3:13 pm

@preceding post.

I haven't watched Francofonia (2015), maybe yet, but the synopsis is compelling:

Quote :

A history of the Louvre during the Nazi occupation and a meditation on the meaning and timelessness of art.
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PostSubject: Re: Beauty, Art and Appearance Tue Jan 19, 2016 8:06 pm

Female Druid, Lionel-Noël Royer (1852-1926).

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PostSubject: Re: Beauty, Art and Appearance Thu Mar 10, 2016 8:50 am

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PostSubject: Re: Beauty, Art and Appearance Sun May 08, 2016 7:57 pm

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Beauty, Art and Appearance Sun May 08, 2016 8:03 pm

6 parts.


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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Beauty, Art and Appearance Sun May 08, 2016 8:43 pm

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Beauty, Art and Appearance Tue Jun 14, 2016 5:23 pm

Lyssa wrote:


perpetual wrote:
How woman act as a metaphor for Nietzsche is really interesting.

One such functional metaphor to Nietzsche is Distance…

Nietzsche wrote:
"When a man stands in the midst of his own noise, in the midst of his own surf of plans and projects, then he is apt also to see quiet, magical beings gliding past him and to long for their happiness and seclusion: women.  He almost thinks that his better self dwells there among the women, and that in these quiet regions even the loudest surf turns into deathly quiet, and life itself into a dream about life.  Yet!  Yet!  Noble enthusiast, even on the most beautiful sailboat there is a lot of noise, and unfortunately much small and petty noise.  The magic and the most powerful effect of women is, in philosophical language, action at a distance, actio in distans: but this requires first of all and above all - distance."[JW, 60]

Nietzsche wrote:
"Masks. There are women who have no inner life wherever one looks for it, being nothing but masks. That man is to be pitied who lets himself in with such ghostly, necessarily unsatisfying creatures; but just these women are able to stimulate man’s desire most intensely: he searches for their souls – and searches on and on." [JW, 405]




Joseph Campbell wrote:
"As [a man] progresses in the slow initiation which is life, the form of the goddess undergoes for him a series of transfigurations: she can never be greater than himself, though she can always promise him more than he is yet capable of comprehending. She lures, she guides, she bids him burst his fetters…


if (only) he (could) match her import…"

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Beauty, Art and Appearance Wed Sep 14, 2016 7:06 am

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Beauty, Art and Appearance Wed Sep 14, 2016 7:20 am

Or...Why Ugly became Art?

Dare to not see the profound meanings, the insinuating brilliance in scribbles, in splashes, and drip, drippings.
Dare to not hear the magic in noise.
Dare to question any subjective view.
Dare to laugh at sentences constructed to elude clarity, word-associating depth for the untalented.

With no external standard, all is art, all is beautiful...it's all subjective.
The onus is placed on the individual who denies the meanings, if the ideal gains popularity.

Double-edged sword for Nihilists...rejecting an objective standard, outside the minds of men, they must replace it with popularity.
They live and die by how many they can seduce, they can assimilate and manipulate.
Marketing and image making becomes truth creating.

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PostSubject: Re: Beauty, Art and Appearance Wed Sep 14, 2016 7:29 am

Image is the Modern's covering of appearance.
His superficial "cultivation" of the present - spin-doctoring, in political jargon, makeup, education, imitation, fashion.
Plagiarism is sampling the subjective coverings of another, to construct a "unique" twist.

Fashion, rearranges colours, fabrics, cuts/shapes, like Modern language twisters take a previous ideology and change the hue, the word, the shape of the sentence: spring, summer, winter, autumn lines....for all body shapes and all seasons.
The art of altering any appearance, to conceal and reveal selectively, creating a desirable image: social.
Mentally this is attained through education.
Ivy Leagues are tantamount to fashion houses.
Intellectuals famous and effective designers.

Reality the 'problem' of how to shape it to flatter - a recipe applicable to all.

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PostSubject: Re: Beauty, Art and Appearance Sat Nov 19, 2016 11:09 pm

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Beauty, Art and Appearance Thu Jan 05, 2017 3:28 pm

Delacroix, Apollo Slaying the Python

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Beauty, Art and Appearance Mon Apr 24, 2017 4:30 am

(Minus his Xt.)

Berdayaev wrote:
"An altogether different nature and different sense obtains in those phenomena, which I term as the analytic aspirations in modern art, shattering and sundering every organic synthesis both of the old natural world and of the old art. Cubism and Futurism in all its manifold hues appears an expression of these analytic strivings, shattering all organicity. These waftings of a final day and final hour of human creativity ultimately disintegrate the old beautiful embodied art, always connected with antiquity, with the crystalising forms of the flesh of the world. The most remarkable results of this tendency obtain in painting.

     A genius-endowed representative of Cubism is the artist Picasso. When one gazes upon a picture by Picasso, one then tends to think belaboured thoughts.1  "The happiness of an embodied life under the sunlight has vanished. The wintry cosmic wind has stripped away the veil behind the veil, all the flowers and the leaves have become scorched, stripping away the skin of things, all that was clothed has fallen away, all the flesh, manifest in images of incorruptible beauty, has dissipated. It comes to seem, that never will ensue the cosmic Springtime, never will there be the leaves, the greenery, the beautiful veilings, the embodied synthetic forms. It comes to seem, that after the terrible Winter of Picasso the world will not yet blossom forth, as before, that in this Winter will fall away not only all the veils, but likewise all the objective corporeal world will become unhinged down to its very foundations. There transpires as it were a mysterious coming apart of the cosmos. All more and more it becomes impossible to posit a synthetically-whole artistic apperception and creativity. Everything analytically is dissolved and dismembered. By means of such an analytic dismemberment the artist intends to get down to the very skeleton of things, down to the solid forms, hidden behind the softening veils. The material veilings of the world have begun to disintegrate and shred apart and there is the searching out of the solid substances, hidden behind this softening. In his searching out of the geometric forms of objects, the skeleton of things, Picasso has arrived at a stone age. But this -- is an illusory stone age. The gravity, the solidness and welding together of the geometric figures of Picasso only seems so. In actuality the geometric bodies of Picasso, assembled from the cubic skeletons of the corporeal world, fall apart from the slightest shake. The final layer of the material world, revealing itself to Picasso the artist after stripping away all the veils, -- is illusory, and not real. Picasso -- is a merciless exposer of the illusion of an embodied, materially synthetic beauty. Behind the captivating and alluring feminine beauty he sees the terror of disintegration, dissolution. He, in his sharp-sightedness, sees through all the veilings, the covering cloths, in layers there also, in the depths of the material world, he sees its own deposits of the monstrous. This -- is the demonic grimacings of the fettered spirits of nature. To go still further in depth, and for there still to be no sort of materiality, -- there already is the inward structure of nature, of the hierarchy of spirits. Painting, just like all the plastic arts, had been an embodiment, a materialisation. The highest upsurges of the old painting provided a crystalised and formalised flesh. Painting was connected with a firmness of the embodied physical world and stability of formal matter. But now at present painting is experiencing an as yet unprecedented crisis. If one penetrate the further into this crisis, then it becomes impossible to term it otherwise than as a dematerialisation, a disembodied sort of painting. In painting is transpiring something, it would seem, quite opposite the very nature of the plastic arts. Everything already as it were has become exhausted within the sphere of the embodied, materially-crystaline painting. In modern painting there is no spirit that becomes embodied, becomes materialised, and matter itself becomes dematerialised, becomes disembodied, and loses its solidness, its firmness and sense of form. Painting submerges itself into the depths of matter and there, in the very final layers, it finds there already no materiality. With Picasso the boundaries of physical bodies become unsteady. In modern art the spirit as it were tends to wane, and flesh to be dematerialised. This -- is a very deep jolting for the plastic arts, and which shakes the very essence of the plastic form. The dematerialisation in painting can produce the impression of the ultimate collapse of art. It would seem, that in nature itself, in its rhythm and cyclic-turns, that something irreversibly has fractured and changed. The world has altered its veilings. The material veilings of the world were merely temporary coverings. The age-old attire of being has rotted and fallen away".

      All the firm delineations of being have shattered, become decrystalised, stretched apart, pulverised. Man passes over into the state of an object, objects pass over into the human state, one object passes over into another object, all the layers get jumbled, all the planes of being get confused. This new sense of world life attempts to find its expression in Futurist art. Cubism was but one of the expressions of this cosmic whirlwind, sweeping everything from its place. Futurism in all its manifold variations goes even further. This -- is a sequential shattering of the features of the settled state of being, the vanishing of all the definitely delineated images of the objective world. In the old, the seemingly eternal art, the image of man and the human body had firm contours, he was distinct from the images of other objects in the world, from minerals, plants and animals, from rooms, houses, streets and cities, from machines and from the infinitude of the worldly expanse. In Futurist art there are erased the boundaries, separating the image of man from other objects, from the enormous mechanical monstrosity, called the modern city. Marinetti proclaims in his manifesto: "Our bodies enter into the couches, upon which we sit, and the couches enter into us. The autobus is transformed into the houses, alongside which we drive past, and in their turn the houses rush at the autobus and pour off from it". The human image vanishes in this process of a cosmic stretching apart and pulverisation. The Futurists wanted as though with pathos to kill away and reduce to ashes the image of man, always reinforced by the image of the material world separate from him. When the material world is sent reeling to its foundations, the image of man also is sent reeling. The world in its dematerialisation penetrates through into man, and man having lost his spiritual stability dissolves away in the diluted down material world. The Futurists demand a transferring of the centre of gravity from man over to matter. But this does not mean, that they can be called materialists in the old sense of the word. Man vanishes, as vanishes also the old matter, with which he corresponded. "To abolish the "I" within literature, i.e. to abolish all psychology" -- thus formulates Marinetti one of the points of his programme. "Man does not represent any sort of absolutely greater an interest. And thus, expunge him from the literature. Chalk him up finally as matter, the essence of which it is necessary to grasp by bursts of intuition. Discern through his free objects and capricious motorings of breathing the sensation and instincts of metals, stones, trees, etc. Eliminate the psychology of man, henceforth empty, with a lyrical impulse of matter". "Of interest to us is the solidity of the steeliness of the plastic art per se, i.e. the non-conceptual and non-human union of its molecules and electrons, which resist, for example, the pull of the nucleus. The warmth of a bit of gland or of wood is more exciting for us, than the smile or the tears of a woman". "It is necessary, moreover, to catch the gravity and smell of objects, which up to now they have disdained to do in literature. To strive, for example, to convey the landscape of smells, perceptible by a dog. To hearken to motors and reproduce their utterances. Matter always has been investigated by an absent-minded and cold I, excessively concerned with itself, full of prejudicial wisdom and human impulses". The hostility to man, to the human "I" is clearly apparent in the Futurist manifesto of Marinetti. And herein lies concealed a fundamental contradiction of Futurism. The Futurists want to have the growth of an accelerated dynamic and yet they deny the wellspring of the creative dynamic -- man. There is no lever, by which the Futurism could flip over the world. There is no genuine dynamism within Futurism, the Futurists are situated in the grip of a certain worldwide whirlwind, not knowing the meaning of what is occurring with them, and essentially, remaining passive. They are obsessed with a certain sort of process, they spin round in it with an ever growing acceleration, but actively creative they are not. They are situated in the grip of a disintegration of the material world. Futurism possesses an enormous symptomatic significance, it indicates not only a crisis of art, but also a crisis of life itself. Regretably, the agitational manifestos of the Futurists take precedence over artistic creativity. In these manifestos they express their own altered sense of life. But they are incapable to adequately express this new sense of life in the fashionings of art. This creative incapacity is especially to be sensed in the Futurist poetry and literature. What happens is a decrystalisation of words, a flattening down of words, sundering words apart from any sense of the Logos. But a new cosmic rhythm, a new sense of harmony the Futurists fail to detect. The problem with Futurism consists in this, that it is too oriented backwards, negatively attached to the past, too concerned with settling accounts with it and not at all with a passing over to a new creativity in freedom. It is merely a transitory state, moreso the end-point of the old art, rather than the construction of a new art. The Futurists perceive only on the surface the quite profound processes of change in human and world life. But they dwell in a verymost profound spirit of ignorance, with them there is no sort of spiritual knowledge of the meaning of what is occurring, not that intensive spiritual life, which would have made visible not only the disintegration of old worlds, but also the arising of new worlds. A philosophic approach towards apperception is needed within Futurism.

Futurism as regards its sense of life and its consciousness is nowise radical, it -- is merely a passing fancy, moreso the end of the old world, than the beginning of a new. The level of awareness of the Futurists remains superficial and it never penetrates down into the depths of the cosmic changes. They see only the surface level of what changes and stormy world movements are happening. That, what is occurring in the depths, remains hidden for them. They are too servilely dependent on the processes of the disintegration and stretching apart of the old flesh of the world, its material trappings, in order for them to be able to create a new world not dependent upon the external process enslaving them. They are situated under the grip of the process of mechanisation, and their creativity is full of this machine-like objectness. They are liberated from the human bodies, from trees, from the seas and the hills, but they cannot liberate themselves from motors, from the electric light, from aeroplanes. But indeed this is likewise part of the object-oriented world. It is from this that the Futurists create, and not from the creative nothingness of the human spirit. The creative spirit is denied by them, they believe more in motors and electric lamps. The Futurists, given the condition of consciousness in which they are situated, create under the power of the motor and reflect the changes, wrought by the motor in world life. There is no wellspring of the dynamic with them. The Futurists are very shrill in their expressions, but in essence they are hopelessly unassuming and dependent upon the outward world.

Futurism had to have its birth in Italy, staggeringly bent beneathe the weight of its own great cultural past, sapped of strength by this past greatness: Futurism likewise is a new barbarism upon the summits of culture. In it there is the barbarian coarseness, the barbarian wholeness and barbarian ignorance. This barbarism should have effected a change in the decline. But it transpired from a not very great depth. The culture is rending its own particular veils and discovers a not very deeply buried layer of barbarity, and here hence resound loudly the barbarian cries of the Futurist literature from the fissures, formed from the crisis of culture and art."

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"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: Beauty, Art and Appearance Sat Jul 01, 2017 2:48 am

One of his better videos. Coincidental, as i have lately been studying roman architecture and how the form of Trajan and the high rising Arc motif, was about sanctifying the power of their culture by deliberately imposing a pragmatic aesthetic nurtured by imperial unity.

Now the cheapness and overuse of glass and height, compensates for the lack of rootedness in any land or soil, but, like everything else in modernity, only for mindless efficiency and production and over inflated grandiosity.

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PostSubject: Re: Beauty, Art and Appearance Sat Jul 29, 2017 10:13 am

Sloterdijk, Peter wrote:
Modern customers, as users of unexamined technology, are everyday imposters:
illuminators with toggle switches and dimmers, telepathy artists with fax machines, kinetic jugglers at the wheel of a car, and masters of levitation in a passenger plane. And in the sense that all of these obscure technical objects would not be the way they are without the contribution of designers, we can describe the profession of designer as that of an outfitter for imposters.
Designers furnish everyday imposters like myself and everybody else with the accessories for continuing simulations of sovereignty.

The Aesthetic Imperative

Collective genius producing the illusion of parity.
Inter-Subjective, inter-dependence - socialized autism.
The inferior incompetent one, feels the equal to the competent one (expert, specialist), in a field, and returns the favour by providing this compensation to him and his incompetence, creating a theoretical unity based on incompetence, using Sloterdijk's wording, and specialized, selective competence.
Sovereignty through submission.
Power through association. The collective knowledge becomes a pool all can draw from and drink from, correcting any genetic inadequacies.
Design, as noted, is the one that covers incompetence with a stylistic pleasing interface of competence - requiring only mediocrity to access.

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