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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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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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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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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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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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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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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.]

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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.]

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

Part 3.


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

Part 4.


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

Part 5.


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

Part 6.


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

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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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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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PostSubject: Re: F-Art Tue Oct 31, 2017 11:16 pm

Autsider, I've seen hentai that could qualify as art, but that art just looks like generic gay porn. Honestly, gay porn disgusts me But at least it gives me a reaction, a reaction of disgust. You could argue that it's "art" because at least it gives me a reaction. Most of the modern art doesn't even give me a reaction, other than the reaction of feeling like my brain is oozing out of my head.
Definition of art.
"Art is a diverse range of human activities in creating visual, auditory or performing artifacts, expressing the author's imaginative or technical skill, intended to be appreciated for their beauty or emotional power."
The emotional power is disgust.

Modern art has neither beauty, nor emotional power.

Also, I lol'd at them vandalizing the art, very funny lol.

I drove past a gallery of modern art today. It was very repetitive. No creative expression allowed. All the paintings were minor variations of each other. The display cases were all arranged in axis-aligned walls.
Moderns "say" they are all about creative freedom but really it's "What I say goes" and they arbitrarily decide who gets to enter the gallery.

The gallery was basically this over and over, with a bunch of minor color swaps. I felt insulted they called it art, thought about vandalizing it but I didn't want to go to jail so I left it alone.

It seems like moderns are not victims of social oppression, Rather they are instigators of social oppression and some of the things they do go too far. I consider myself a nymphomaniac, but some of the Sexual inappropriate things moderns do in society bothers me and seems uncivilized, degenerate also. I want my own thoughts to be mine, and not be bombarded by gay porn in public. I was always like this. In middle school I had a high sex drive but I only liked talking about sex in private. All the rich kids at the school molested me and acted like a bunch of degenerates (ie. acted like niggers) constantly. And these were rich white kids and jews the so-called "high-class" of society.
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PostSubject: Re: F-Art Wed Nov 08, 2017 11:15 am

This is my opinion;

Art assumes nothing.

It is a artists vision liberated from the artists mind and then takes flight into the abyss.

It becomes an intimate conversation with it's receiver based on it's own merit sans intention.

You cannot force art. You paint a painting and you let it go live it's own life, where ever the road may take it. You create a vessel, not worrying about the hands that hold it or lips that sip from it. You are blind to the eyes that explore, the hands that touch, the ego that interprets or the critics perception.

Today's modern art movement is filled with intentions. It's ruined by schools, media and institutions. That's is what makes it categorically inferior.
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PostSubject: Re: F-Art Wed Nov 08, 2017 5:40 pm

Ebner-Eschenbach wrote:
The artist may never neglect to erase all traces of sweat that his work caused.
Visible toil is not enough toil.

I can be aware of what many people will think of my work, how they will probably see it but if their reactions begin to guide my work then it enters the territory of a product, of marketing, which ultimately becomes increasingly shallow.
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PostSubject: Re: F-Art Wed Nov 08, 2017 5:57 pm

When a work of art is manufactured - copied multiple times - it loses its quality in quantities.
Love is diminished when it is awarded to everyone, as deserving...and value loses its value if it is in all.

If all deserve love, equally, then what value does it have coming from the one who gives it, equally to all?
A whore's love.
If all judgments are equally valuable, then what value can a judgment have?

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PostSubject: Re: F-Art Mon Dec 25, 2017 9:41 pm

Self-referential word associations are part of modern musical f-ARTing, called cRAP.
We can also see the same in modern narcissistic emoting, called 'philosophy, for some reason.
Masturbation is self-love, and love can mean anything from magical power, to transcendental cosmological constant, when it's but as compensating projection of the internal turmoil as an external power...kind of like a Pollock drip-dripping, and smug-smudging.
Tear droplets producing colourful accidents full of profound meanings.
I can hear it in Jay-Z's rhyming.
He be rich, yo, so he be wise and shit...   

Word-vomiting in a self-consistent manner, self-flattering, self-aggrandizing, self-comforting, self-promoting is Modern intellectualism.
All it needs is an audience to buy this cRAP.
The ego finds in the self its canvas to vomit, and then swirl it around in mesmerizing synthetics, to be marketed and then placed in fART galleries for unsuspecting douche-bags to purchase. and hang in the 'study' alongside ornamental books and nick-nacks displaying his Bohemian renaissance openness to existence.

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PostSubject: Re: F-Art Mon Jan 29, 2018 9:43 am

cRaping uses word-associations, and 'me-me, look at me' psychological triggers to pull in the audience and make it participate in its self-pleasuring.
Like all fArt it is ambiguous to imply talent where none is required.
The observer is simply triggered, using images, or words that evoke images, and he associates the meaning and finds the 'message' which is coming from him, so it is always intimate and profound, because the observer does not realize this and thinks he is connecting with another.

Side flack,
exploding missile on my back
ride the wave to the strat-o-spehere

I pull near
honeycombed she pushes back
sticky sweetness on the blog-o-sphere

Breaking back
releasing my heart to attack
time trials reveal the kron-o-sphere

...and on and on.
All you need is a rhythm and a trigger.
In music they call it a riff, and/or hook.
I wrote the above in a minute, but if you spend ten you can create something more intricate.
Multiple rhymes, and rhythms, interlocking... each with its own trigger.
This is how the delusion that all art is subjective and that there is no such thing as superior/inferior (art in this case) is propagated, since all is equally good, equally profound, equally beautiful.
It depends on what audience you want to seduce, or what kind of brain you want to recruit as a participant in its own hypnosis and exploitation.
Then you adjust the intricacy of the word-associations, the number of triggers, and the kind of triggers.
Trigger = bait and 'hook'.
More ambiguous triggers leave things more open to any interpretations, seducing a broader audience. More base triggers, usually with a bling-bling, sexual trigger, will be simpler and attract the simpler man-child, and post-modern princess.
Ambiguity makes the audience feel like they are special. Like they are appreciating something only a few can.
The right kind of triggers will associate the 'verse' with specific books they've read, movies they've watched, other music or poems they like, or with personal thoughts, and private experiences.
The cRapper/fArtist can be writing gibberish and they, the listeners/readers, will be connecting the dots, using the emotional triggers he leaves behind, here and there.
If there's a rhythm and a rhyme it looks more formal, more wilful... like the fArtist intentionally left breadcrumbs to follow.
A fArtist painter will smear the canvas and then sprinkle little patterns in the mess as triggers.
The mind will focus on these, and each pattern will have to be given a meaning from the observer's own experiences, from his own mind.
The fArtist only needs a good marketing agent, and a gifted image maker, and does not have to be gifted himself.
The image implies depth. Not the fArtist's work.
The intended buyer is buying into the fArtist's public image when he purchases the trash he's 'created' with his signature on it.
The signature connects to the image, making it 'authentic'. Its popularity gives it value.
Exploiting vanity, insecurity, and susceptibility to peer pressure, the fArtist focuses his fArt to a specific group.
He adjust his triggers to this group, like a 'fisher of men' picks his bait depending on what type of fish (victims of themselves) he is looking to hook.
The appetites of the fish is determined by their particular needs. Each species has its own tastes, expressing its own particular physical/mental needs/desires.
fArt need not have anything to do with reality. Its intent is to distract the fish from their plight by giving it a delicious morsel to chew on, or swallow whole.
Filling in an internal void.
The bait can be an idea(l) that has no reality outside the mind, and this makes it all the more enticing, because if it could be found in the world the fArtist would not be required as a mediating provider/creator.

What applies to Art applies to philosophy – the discipline of linguistic artistry.

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PostSubject: Re: F-Art Mon Jan 29, 2018 11:35 am

Modern art (fArt), is about expunging repressed anxieties and unattained dreams.
The modern, born and raised in a controlled and sheltered environment, has accumulated mutations but also their expressions.
In fArt the Modern finds release, feeling this spilling forth of what has been repressed, as growth, as an expression of its unrealized power.
But he is not growing, but expanding within the Modern nihilistic cocoon; it’s not powerful within world, but within a small segment of humanity that has been trained to respond to specific symbols (triggers).
The world is unyielding but the system accommodates any mutation that accords with its fundamental principles – its ‘world’ is ‘humanity’, primed and prepared to (re)act to specific triggers, with specific emotions.
These emotions carry outward stress that has accumulated for decades.

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PostSubject: Re: F-Art Tue Feb 13, 2018 6:10 am

Modern art 'f-Art', follows the same paths as consumed nutrients. It is often confused for libidinal energies, procreative excess, only their route is different.
The mind collects stimulation, like the body collects nutrients.
Only the mind has little choice in the matter. Stimuli are constantly converted to neural energies and transmitted to the mind, where they are processed.
The mind is now similar to the stomach – one organ digesting matter, the other energies.
Nutrients are broken down in the stomach. Their bonds torn apart by powerful digestive acids, and each transported (incorporated) into the body.
What cannot be incorporated is transferred to another organ where excrement begins its process towards being expelled as excrement. In the meantime it is fermenting, releasing nauseous gases that the organism has to relieve itself from their pressures.
Data, in the brain follows a similar path.
It is broken down to its parts, deconstructed by abstracting them. The power of the deconstruction determined by the sophistication of the brain.
This raw data is then incorporated into pre-existing abstractions, such as a meme.
What cannot be incorporated is transferred to the subconscious beginning is path towards expulsion, over time. In the meantime the data, this raw processed but not assimilated data ferments, releasing pressurizing sensations, feelings, imagery in the subconscious – mental gases (mind-farts).
Mind-farts are nonsensical noise…. imitating speech.
Like libidinal energies they accumulate in time and must be released, expelled. Libidinal energies are released as DNA, sperm/ovum, or as art, culminating in orgasmic spasms, ecstatic releases of procreation/creation.
Mental excrement feels like excess, similar to libidinal energies, pressuring the mind, like feces feels like an internal pressure/tension requiring relief that also feels pleasing.
Libido is the excess digestion and assimilation produces, whereas feces is the excess consuming produces in the form of by-products that cannot be assimilated.
The f-Artist is one who splatters his mental feces, or expels his mental gases publicly, as if they were libidinal energies of creativity.
A level of shamelessness is necessary. What ought to be performed privately is performed in public, wanting to shock, or to receive attention.
Such 'work' has the appearance of feces, or sounds like mind-farting – a whole lot of noise with no meaning.
The mouth acts as a sphincter, trying to make the gases sound like speech, expressing an inner truth, but instead its message is in the smell, the stench, and not the noise that cannot be made to sound like speech – like logos.
It imitates logos but is the sound of released esoteric gases, pressurized over time.
fArt displays the fArtists digestive past. The material he could not process, nor assimilate into his consciousness, released as subconscious splatter.
In some respects fArt, like all fecal material, carry with them some interesting facts about the organism that produced them, the fArtist.
fArt is interesting from a psychological standpoint, just as feces reveals some organic facts about the organism that dropped them, after passing them through its entire body – from ingestion, via the mouth, to expulsion via the anus.
Only in human fArt the same orifice is used to ingest and to expel.
Such undigested materials are not only nonsensical, if you try to analyze them literally (make sense of them), but they can only be used to fertilize (feed) lesser organisms, such as plants, vegetable brains, or bottom feeders, like vermin, parasites, psychotic bugs of all sorts.
There is a use for feces among the less sophisticated members of the natural world, as there is always a market for fArt among degenerates.
Dogs sniff it to gather data about the organism that released them. It has the nose for such things, though not the mind. It knows, it identifies, without knowing how it knows.
A diagnostician, is also interested in feces and passed gas, because in it the organic health of the manimal that released it is exposed – its inner workings, its eating habits, its digestive health and habits etc.

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Anfang

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PostSubject: Re: F-Art Tue Feb 13, 2018 12:43 pm






Not sure but isn't that an explicitly anti-white fraudtist on the left? Doesn't matter it's just another emperor with no clothes public moment.

Edit - I'll leave the accidental image copy pasta in there.
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PostSubject: Re: F-Art Tue Feb 13, 2018 12:52 pm

That's an excellent example of fArting....sampling, copy/paste and re-selling the same to the same crap audiences.
Not an extreme example unless the fArtist copies the entire thing....otherwise some talent is required to paint the Negro in his Jungle environment, as realistically as possible.

The message is....
I, a Negro, sat on the civilized throne, wearing the white man's suit, but I never left the jungle, the forest.

Chair = wood.....surrounded by copy/pasted leaves: half-breed, king of the forest, using another's civilization's utensils, tools.
Meme mix....jungle and civilization.

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PostSubject: Re: F-Art Tue Feb 13, 2018 1:26 pm

I think it's about as tasteless (talking about the style-breaking, unfitting background) as they could be while still having some shitlibs around who can at least somewhat pretend that this is actually decent.
I interpret the leaves beginning to cover the chair that the legacy is the jungle taking over the civilisation.
It's not a bad theme but the background is just no good, probably made deliberately to look cheap distasteful.

This is also a good way how to protect your ego as an artist. If it looks like you tried to paint with as much talent at realism and good taste as possible then you can't defend your ego from criticism by basically saying, Yeah, I wanted it to look distasteful or whatever.
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PostSubject: Re: F-Art Tue Feb 13, 2018 1:42 pm






Had to respond to these.

Never got into post-modernism, and the more i learn about it, especially after watching these vids, the less i intend to ever get into it. The term "Post-modernism" itself illustrates its origins of semantical nonsense to imply surpassing or "being beyond" the age to another "higher" age of intellectual evolution. It's quintessentially progressive and liberal. Ironically, distinct and strapped down to the very age it aspires to transcend.

The French have always been pallid weak-minded thinkers. They produced Voltaire, but not much else. Baudrillard is somewhat worthwhile, his Simulacra and Simulation being the only work worth reading. I attempted to read his others in the past such as Impossible Exchange or System of Objects and couldn't stomach it, he starts to get too linguistically kooky. Jean-François Lyotard and his shit about "metanarratives" was another one i regretted reading.

Never read or ever will, Foucault, Derrida, or Lacon. A thirst for knowledge is good, but like any noble pursuit, you have to have standards. The phenomenon of this post-modern semantics is the resulted deficiency of sheltered environments controlled and inundated by academia and information overload. Fancy words, terminologies and phrases tossed in a salad and served with convincing dressing for taste to help it digest comfortably. Sprinkle some pine nuts of education credentials on top and it looks great to gullible minds.
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