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Riastradh

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PostSubject: Re: F-Art Mon Jul 13, 2015 6:33 pm

The CIA and Modern Art

A old article, with the expected biases and omissions and distortions (McCarthy was largely right and exposed hundreds of communists in influential Governmental positions, the Rockefellers as agents of 'internationalist' cultural degeneration, the CIA link to the contrived drug-and-sex-fuelled 'culture' of the 1960's etc.) however I personally had not been aware of the direct connection.
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Trixie Celūcilūnaletumoon

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PostSubject: Re: F-Art Fri Jul 17, 2015 12:31 am

Quote :

Reminds me of that time I died and went to hell.
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hǣþen

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PostSubject: F-art Wed Sep 02, 2015 8:48 pm

http://www.artfido.com/blog/embroideries-of-boobs-butts-and-nipples-oh-my-nsfw/

Say farewell to all your preconceived notions about the beloved craft technique that is embroidery.
The medium formerly associated with your lovely grandmother and sweet old neighbor has undergone
a renaissance of sorts as young feminist artists conjure new ways to subvert the medium’s history of
domesticity to tackle today’s most pertinent debates. Nowadays, there’s no subject matter too provocative
to squeeze inside a wooden hoop.

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Jarno

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PostSubject: Re: F-Art Sat Sep 05, 2015 6:01 am

F-art from Finnish Museum of Contemporary Art "KIASMA"














[img









These all "masterpieces" have given names, but didn' bother to research. There are many more.
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Satyr
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PostSubject: Re: F-Art Fri Dec 25, 2015 11:03 am

Pertaining to Modern f-Art...

Wilson, Erik wrote:
THE COMIC MODE AND THE  MUMMY’S MELANCHOLIA

The first guide to the comic currents of Poe’s mummified anthropos is, unexpectedly, James Joyce’s Stephen Dedalus.
In Portrait of the Artist as a Young Man (1916), Stephen offers his theory of the aesthetics of tragedy. Though he agrees with Aristotle’s idea that tragedy raises terror and pity in the audience, he believes that the great philosopher did not sufficiently define these terms. Stephen first distinguishes between aesthetic and nonaesthetic pity and terror. Improper art and improper artistic feelings are kinetic.

Kinetic works spur desire and loathing. Setting these states into motion, kinetic art is not really art. It is either “pornographical or didactic,” inciting the urge “to posses” or the impulse “to abandon.”
In this way, improper art participates in the limitations of the fall.
It stokes the ego, inspiring it to struggle toward its yearnings or to avoid its aversions.
Kinetic work also comforts the ego; it feeds it with the conventions that it expects—stereotypical objects of sensual desire, familiar forms of violence. Seducing the ego with abstractions, improper art alienates from lived experience.

Proper aesthetic events and proper aesthetic emotions are static.
They arrest fear and desire. They disarm the abstractions that generate didacticism and pornography. Tragic pity does not evoke a desire toward a suffering object but “arrests the mind in the presence of whatsoever is grave and constant in human sufferings and unites it with the human sufferer.”
The terror evoked by tragedy does not induce an aversion from the fearsome event. It “arrests the mind in the presence of whatsoever is grave and constant in human sufferings and unites it with
the secret cause.”
In elevating the beholder above fear and desire, static art pulls one away from the fallen ego and toward an unfallen self, an ideal human form untroubled by yearning or aversion—the anthropos.
This kind of art shatters the ego’s fixations and reveals the abiding pain.
Opening to what is constant, tragedy gestures toward the mysteries at the core of life.

Stephen develops these final points. Proper arts elevate the mind beyond fear and desire through their revelations of concrete resonances.
What Stephen calls the “esthetic image” first strikes the mind as a “luminously” “selfbounded and selfcontained” event arising uniquely from “the immeasurable background of space and time.” It shines as this thing and nothing else.
It is one whole. It possesses integritas. The mind follows the “immediate perception” of the synthetic whole with an “analysis of apprehension,” an attention to how the parts cohere into the whole, how the whole gathers the parts. The image now appears as a “complex,” a harmony of many and one. It manifests consonantia.
After one has immediately perceived the image as one thing and mediately apprehended it as a consonance of whole and parts, one is finally struck by its shimmering claritas, its radiance as this thing and nothing else, its quidditas.
Only this image, here, now, merges parts and whole in this way. The mind beholding this threefold beauty experiences “the luminous silent stasis of esthetic pleasure, a spiritual state... [an]enchantment of the heart.” This mind experiences gnosis, sudden insight into the ideal—the Eden, the anthropos, from which it has fallen away and toward which it returns.


--The Melancholy Android

When art seduces and coerces, it stands before nature, as God before gods, declaring himself above them, or their equal.
The magic of the word, linguistic stimulation of the nervous system, tickling these forces, these deities, into action, as if one were their master.
Seductive artist, priest of words, directs what is present, but believes he is animating frozen spirits, releasing static energies with his power over matter/energy.
The ones being moved, believe it as well, having never experienced such forces - repressed, hidden, sensed only in intuition, and experienced as dreams, they put on their "public" face (character), as if it were their genuine one, and knew nothing of their private self (personae).
Agitated by symbols, linguistic, sonar, lines arranged in shapes, the moved, the dancer, i convinced the other is a magician is moved to act - distancing himself form the act, so that he can deny it was he who is responsible.
Like the inebriated blaming it on the magical effects of spirits, and the repressed one on his loss of control, prompting him to reveal more than he dared, on passion - the gods were blamed for those uncivilized, anti-social breaks from the hypocrisy of everyday.
These days no explanation is given except that ti was the anger, the alcohol, as if the actions, expressions shared, with no controlling judgment, came from some magical realm, like the moderns do with more positive words they want to hold onto without justifying; love, respect, equality, humanity, the idea that race/sex are social fabrications, and many others.
A moment's break from character, and the genuine personality comes out of its prison.

In the arts the distance between audience and actors offers that safety-zone to claim non-involvement.
The audience sees themselves presented before them, in comedy and tragedy, but from a detached distance, offering them a choice: to accept or to deny.

Wilson, Erik wrote:
The loss of Aristotle’s poetics of comedy forms one of the great lacunae of Western aesthetics. One wonders what comic emotions parallel the tragic states, fear and pity. One further is curious over how Joyce’s Stephen would have revised Aristotle’s comic theory.

While one will never know what Aristotle or Stephen thought of comedy, one can guess that Aristotle’s comic emotions would share the same polarity of his tragic states, the same mix of repulsion and attraction, and one can speculate that Stephen’s theory of comedy would focus on arrest over motion, the constant over the ephemeral.
If tragedy arouses loathing and pity, then comedy inspires joy and sorrow. That the comic generates the former state is obvious. Laughter is foremost the goal of comedy, unbridled joy over ridiculous mishaps and tender reunions.
The latter condition, sorrow, seems to be at odds with the comic mode. However, all great comedies—those of Aristophanes or Shakespeare or even those of Howard Hawks or Woody Allen—are predicated on the idea that the world is always on the brink of chaos.

In the Dionysian world of comedy, these are the ruling principles, really nonprinciples: if something can go wrong, it will; anything can happen, and it usually does. Mistaken identities, accidents, slips of
the tongue, misunderstandings, nervous plots: these are the elements of the comic world as much as happy endings. These troubling elements form the shaky ground from which blissful unions arise. The comic ending gains its joy from relief as much as from happiness—from “sorrow averted” as much as from “joy achieved.”
Beyond pornography, the fulfillment of transient desire, and beyond didacticism, the satisfaction of brief aversion, proper comedy, like proper tragedy, is a mode of transcendence. If tragedy reveals what is constant in loathing and pity and empowers one to move beyond ephemeral versions of these states and apprehend the “secret cause,” then comedy shows what is ongoing in sorrow and joy and inspires one to transcend ephemeral instances of these conditions and likewise grasp the hidden origin of the cosmos. Both aesthetic modes, regardless of whether they explore suffering or happiness, open to a position untroubled by fear and desire. Doing so, these aesthetic forms disclose what is constant in beauty: integritas, consonantia, claritas.


--The Melancholy Android

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AutSider

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PostSubject: Re: F-Art Sun Feb 14, 2016 12:32 pm





He should have been made to EAT the contents of every single can, one per day. You are what you eat... and you eat what you are.
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Lyssa
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PostSubject: Re: F-Art Fri Dec 30, 2016 1:53 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: F-Art Thu Jan 05, 2017 3:33 pm

Part 1 of 6.


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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: F-Art Thu Jan 05, 2017 3:34 pm

Part 2.


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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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Lyssa
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PostSubject: Re: F-Art Thu Jan 05, 2017 3:34 pm

Part 3.


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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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Lyssa
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PostSubject: Re: F-Art Thu Jan 05, 2017 3:35 pm

Part 4.


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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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Lyssa
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PostSubject: Re: F-Art Thu Jan 05, 2017 3:35 pm

Part 5.


_________________


"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: F-Art Thu Jan 05, 2017 3:36 pm

Part 6.


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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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Satyr
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PostSubject: Re: F-Art Thu Jan 05, 2017 3:37 pm

Nice find.

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PostSubject: Re: F-Art Wed Feb 01, 2017 1:35 pm

Paintings cost $4,000…




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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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AutSider

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PostSubject: Re: F-Art Wed Feb 01, 2017 4:05 pm

So if I claim to be a transspecies bear and paint a picture I can sell it for 4000$?

Maybe I could just get my cat to do the same thing and sell it for thousands to pretentious retards? Or does it have to be a wild animal?
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PostSubject: Re: F-Art Fri Jun 09, 2017 7:39 pm

http://www.theguardian.com/artanddesign/2014/may/12/marina-abramovic-ready-to-die-serpentine-gallery-512-hours

This is the same sick cunt that was involved in the spirit cooking thing.

In order for an experiment like this to be real one would have to somehow give up all their rights and suspend all the legal consequences for those who would harm or even kill them. I strongly doubt that's what happened, it looks like staged, pretentious nonsense.

In any case, if she ever decides to do it for real I hope she does it somewhere near my place. I could then put my custom made machete to the test, see if it can decapitate in one strike or if I would have to strike multiple times to behead her. I wonder if she would stay true to her art and remain calm or begin screaming for help and demanding the experiment to stop. I'd bring my butcher knife too, just in case the machete proves ineffective. Don't have any desire to waste time playing around with her, just a swift decapitation to rid the world of her degenerate influence.

Ah, one can only dream.
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PostSubject: Re: F-Art Wed Jul 05, 2017 9:32 pm



Notice a pattern? First, it's all degenerate, there is no normal man on woman sex.

Second, white males are portrayed as submissive to women and niggers. The inversion of reality.
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