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Anfang

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PostSubject: Re: F-Art F-Art - Page 3 EmptyWed 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 F-Art - Page 3 EmptyWed 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 F-Art - Page 3 EmptyMon 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 F-Art - Page 3 EmptyMon 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 F-Art - Page 3 EmptyMon 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 F-Art - Page 3 EmptyTue 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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PostSubject: Re: F-Art F-Art - Page 3 EmptyTue 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 F-Art - Page 3 EmptyTue 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 F-Art - Page 3 EmptyTue 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 F-Art - Page 3 EmptyTue 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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PostSubject: Re: F-Art F-Art - Page 3 EmptyTue Feb 13, 2018 2:34 pm

Post-modernity is the philosophical branch of Nihilism....and the artistic expression of it.
Language being art.
just as post-modern fArt is gibberish, so is post-modern philosophy....all about word-games, word-corruption, manipulation to produce an effect in the mind.

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PostSubject: Re: F-Art F-Art - Page 3 EmptyFri Feb 16, 2018 6:52 am



This example of fArt is like Harris' example exposing religion as gibberish.
If you can take a random recipe from a random cook-book and spin it into a seemingly profound narrative then how much more easier it would be to write a nonsensical piece of prose, with many ambiguous metaphors and triggering words to inspire morons the world over.
If I spend some time on this piece of fArt, I can spin a profound narrative about its hidden meanings, its inspiring insinuations, its depth....like Harris did with the recipe.
Anyone can.....the colour 'vomit' can be shaped into any image.

What fArt represents is a general decline in the relationship of man with reality.
Philosophy is the art of language.....and where fArt goes there follows philosophy.
It ought to be the other way around but Nihilism inverts everything.
Now 'reality' imitates fArt.

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PostSubject: Re: F-Art F-Art - Page 3 EmptyWed Feb 28, 2018 8:48 am


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PostSubject: Re: F-Art F-Art - Page 3 EmptySat Apr 14, 2018 1:08 am


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PostSubject: Re: F-Art F-Art - Page 3 EmptyFri Jun 15, 2018 7:45 pm



Mad This faggot f-artist just wants to signal how progressive they are, they might as well be painting that castle in fag rainbow-flag colors; it is nearly just as bad. This vandalism is the result of a total and complete disrespect; like using the first ever model steam engine as a coloring-book/canvas and saying you do it out of 'respect'. Respect? No. Wanting to make a name for yourself because infamy is the only way you know how. It is a testament to your lack of respect for the architecture that you think it needs modification. Inspiration in art is letting something affect you to create something new or improve it, not desiring to affect something like some subversive (((faggot))) needing to put their name on it or put some pointless 'modernizing' modification disconnected completely from its creator's original intent. This is basically the f-artist mooning their ego to every person that has to bear witness.
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PostSubject: Re: F-Art F-Art - Page 3 EmptyThu Aug 16, 2018 8:43 pm







Obscurantism also infecting modern 'philosophy' as it is practices by on-line self proclaimed 'philosophers', using the same linguistic 'techniques' to market their rubbish as the ones used by fArtists.
A game of exploiting human weakness and dependence on group acceptance, using innuendos and language void of any meaning, because it does not refer to anything in the world, but in the mind, ergo subjective with no potential to be anything more than a strategy of manipulating morons and gaining social recognition.
We can put our modern obsessions with 'love', as it is constantly reaffirmed in countless pop-songs and movies, in this category.

The absence of love has to compensate with hyperbolic repetition, like the absence of sex, and sexual options, has to be with pornography.
So, the absence of thinking and a brave and honest relationship of 'self' with world has to be replaced with word-porn: intellectual garbage masking as insightful spiritual enlightenment and 'deep' occult knowledge, sold to the desperate, lost and the needy with obfuscating verbal rubbish....justified with esotericism and a deferring to the old stand-by of subjectivity.

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PostSubject: Re: F-Art F-Art - Page 3 EmptyTue Aug 28, 2018 11:09 am

Guillame, Faye wrote:
Archeofuturist Suggestions on Art

Alain de Benoist’s magazine Krisis has dared launch a debate on whether ‘contemporary art’ is not in fact a kind of fraud. The media have immediately joined forces to denounce this crime of treason on the part of the ‘far Right’. Actually, everybody knows – although no one dares say so explicitly – that for almost fifty years now the ‘contemporary art’ supported by state subsidies and the media has amounted to nothing but academics (and snobbishness), and that it is now gradually collapsing. What a paradox: contemporary art, which through its creative power and vitality was intended to serve as a war machine against academia, is now drowning in the worst conservatism. It shares the destiny of Communism. It has turned into official art, art zero.
The reasons for this are well-known: fraud and incompetence. In the early 1900s, an aesthetic ideology took hold that immediately gave its fruits: artists’ inspiration – their message – came to be regarded as more important than their technique and professional skill; knowledge of artistic rules and canons were seen as a form of ‘oppression’. Such was the myth of ‘the freedom of the artist’.
Later, false inspiration gradually took hold: artists, lacking real inspiration and competence, achieved subsidised media success thanks to their connections – as was the case with Calder, Saint-Phalle and César among many others. Artists even stopped trying to ‘shock the bourgeois’: they only sought to prove themselves to be progressive and started repeating themselves over and over. By then, they had turned into subsidised finger painters. Recently, pieces of graffiti made by mentally handicapped children have been considered ‘masterpieces’. I personally devised the following hoax for the Echo des Savanes: I painted some canvases before a clerk of the court consisting of daubs vaguely representing phalluses, one minute for each painting... These were then sold in a prestigious art gallery in Rue de Seine to stars of showbiz who enthusiastically admired them. Hoaxes of this sort had already been performed by negotiating a high price for ‘canvases’ that had been ‘painted’ by a donkey with its tail (Sunset on the Adriatic) and by a female orangutan.
Contemporary art has done away with the crucial notion of talent.
Today, in the public sphere, a repetitive and far from creative sort of contemporary art based on sheer fraud coexists with a museum-centred worship of masterpieces from the past. This is typical of societies caught in an aesthetic deadlock. It is interesting to note that the system reacts to all criticism regarding the authenticity and quality of contemporary art with its anathema: ‘So you’re a fascist!’
This is proof of the fact that the system is perfectly aware of the worthlessness of the ‘artistic’ production it champions and of the burning failure of its politico-aesthetic model. As soon as this sore point is brought up, the system reacts with insults and threats.
Even today, however, creative artists exist who shun the pretentious vacuity of official art: Vivenza with his bruit, for instance; the sculptor Michel de Souzy; or painters like Frédérique Deleuze, Olivier Carré, and Tillenon. There are many such artists, but they are viewed with suspicion and alienated because they renew art through the principles of European aesthetics: by reconciling aesthetic canons and creative daring, meaning and beauty, technical work and inspiration.
Official contemporary art (which should not be confused with ‘today’s artists’, who are often very talented but silenced) is closely tied to the system. Its aim is to cut the thread and break the lineage of the ascending trajectory of European art. It is always the same will to cultural iconoclasm in the attempt to strip Europeans of their historical memory and identity.
The tactic adopted is a clever one: on the one hand, insignificant works are promoted in the media, usually the non-works of a nobody (after all, in the confused scenario of egalitarianism, where ‘everything is the same as everything else’, what is worthless can aspire to become art – the fouler and dirtier it is, the more worthy of admiration); on the other hand, a museum-like admiration of the past is elicited – of a fossilised and neutralised past – as a clever way of promoting sterile traditionalism. What matters is for the masterpieces of the past not to serve as a means for reawakening talent in the present or future. The aim is to destroy European artistic creativity, with its magnificence, aesthetic power and talent; to corrupt peoples’ taste by presenting the works of talentless individuals as works of genius; and to do away with all traces of any European aesthetic personality by severing the cultural roots of art. Such has been the often unconscious but always implicit strategy of the ‘masters of art’ for several decades now. This strategy reflects a form of envy (a feeling that, along with desire for vengeance and resentment – as Nietzsche understood well – has always played an important role in politics and history): envy of and resentment against the innate talent of European art.
Part of this enterprise is the ridiculous cult of ‘primitive arts’, of which a naive man like Chirac has become a promoter. A primitive statue is considered as good as Michelangelo’s Pietà – isn’t that so, Mr. Pécuchet? Here, too, egalitarianism clashes with common sense and reality, condemning itself.
Genuine, unrepressed aesthetic creation has sought refuge in technique through an unconscious return to the Greek tradition of aesthetics as technè and chréma (objective usefulness). It is the designers of cars, planes and objects who are producing artworks today. What do we prefer? A crushed Renault by that fraudster César or a Ferrari signed by Pininfarina? It may well be that people will soon grow tired of the false masters of official art – this has already begun to happen with the decline of the FIAC (Foire International d’Art Contemporain).

Archeofuturism

How do Modern charlatans, and the talent-less, validate their fArt?
Using obscurantism, deferring to some mystical esoteric realm which they reflect, and are the only ones who can access and bring into the open; by substituting genius with knowledge, the critics claim to fame, 'name dropping' to make a name for themselves; by substituting quality with quantity, and obvious depth with popularity, marketability.
The fArtist is all-inclusive, recruiting the audience into the creation of the fArt. This is why his 'work' is as obscure and vague, as possible. Turning-away and displease nobody. It is populist, political.
it's only challenge is to allow the observer to have the 'confidence' to project whatever he wishes upon the obscure, because all appreciation of it makes the projecting mind 'correct', and all who do not appreciate it, are the ones who 'don't get it'.
Inclusion and exclusion based on appreciating the collective fArt, making the fArtist a priestly conduit into esoteric insights.
Audiences, no matter how simple, project upon the insinuating vagueness of fArt their own private insecurities and methods of coping with them. It's all an accurate assessment, if it is positive, and is ignorant, if it is negative.

Obscurantism can justify and validate any positive interpretation of the fArt, as if it were always intended, and dismiss any negative assessment, as a matter of self-preserving fact.
Esoteric, the noetic, is where this self-serving process acquires its magical power.There is no exoteric, no indifferent standard, other than what can be esoterically used to validate the fArt. A selective process - subjectivity - pretending to be rational and objective.
Reality is processed and the processing is hidden, so that motives cannot be revealed and judged, besmirching the fArt's quality with a intent that would limit and exclude most, if not all interpretations.
Popularity, selling to the many, is all that remains to turn the talent-less into a talent of another sort.

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PostSubject: Re: F-Art F-Art - Page 3 EmptySat Dec 15, 2018 11:43 am



Obscurantism....linguistic gibberish sold as 'wisdom', by manipulating human psychology.
The reason pretentious, imbeciles buy modern fArt, explains why modern pseudo-intellectual buy-into philosophical obscurantism, based no verbal nonsense.

The untalented fArtist does not need talent, if he has a networked and gifted promoter.....and so the imbecile does not have to be a genius to have his word-vomit sold to naive, needy, morons as profound insight, if he has a good marketing agent.

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PostSubject: Re: F-Art F-Art - Page 3 EmptySat Dec 15, 2018 2:42 pm

I'm sure he explained this "logos" concept many times.
I even remember reading or hearing about it but I just can't remember that idea, it seems I can't retain it.
Something about god and logic and how the world is logic or something, I don't know.

I don't believe in this logos idea, to me it seemed fishy and confusing from the very start.
I can follow other ideas espoused by him, they make sense to me, but not this logos stuff.
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PostSubject: Re: F-Art F-Art - Page 3 EmptySat Dec 15, 2018 4:12 pm

He's a Christian so he begins with the presupposition that the universe is absolutely ordered, deterministic, and logical, rational.
Nihilists always begin with the absolute already a given, a 'fact'.
In Christianity this was represented with ...
Joghn 1:1 wrote:
In the beginning was the Word, and the Word was with God, and the Word was God

The presumption is that all is noetic, idea....represented by the word, which is god. The first word.
Universal order was reflected in language and mathematics....this is the implication of Abrahamic 'logic'.
Words & Numbers expose the 'mind of god', or universal order...and the universe is entirely rational, logical, ordered.
 
They added 'free-will' to enforce punishment....because they realized they had implied that man is not responsible for his own choices and actions because they are determined by god.
They had to concede absolute free-will to make sin and punishment, a threat.
But they did it in a way that made it a non-choice, choice.
Either you submit your will to God's, Or you face eternal suffering in Hell.....it's your choice.
If you choose wrongly, or to deny God's will, then you suffer for an eternity.
A mind-game.
They did the same when they realized that, in accordance with their own dogma, it was reasonable to commit suicide and sit beside god sooner rather than suffer a lifetime and do so much later...an unnecessary step was life.
They dealt with that loop-hole by making suicide a 'sin', forcing you to wait for when god decides to take you. See, even here you have no real choice...not even that of taking your own life.

Atheists went the other direction, beginning with Marxists. From absolute order to absolute chaos, or from one to nil.
Marxists implied that against universal chaos and brutality man had to stand united and build a manmade order.
'Paradise' became 'Utopia,' 'beyond' became 'future', 'faith' became 'loyalty', 'piety' became 'disciplined productivity' and 'God' became 'State'.
Marx replaced Jesus. One Jew replaced by another.  
Lenin replaced Saul.
Saints were replaced by Heroes of the State....and Church and Dogma were replaced by Party and Manifesto.  


Man has been trapped in the nihilistic paradigm for centuries, since man became self-aware....bipolar absolute 1/0...binary, dualism.
Either/Or:
Either absolute order, or absolute disorder, randomness, chaos.
Either the Will is absolutely free, and not contingent on anything...or the Will is absolutely determined, and un-free.
Nihilism is like the Bicameral mind...a symptom of immaturity, confusing tis own thoughts for external agencies.
Nihilism was born out of self-awareness....trying to deal with the psychological consequences.  

Reality happens in between these noetic bipolar absolutes...in between noumena, phenomena interact.
The in-between is difficult to accept, and to conceptualize.
In between is represented by fractions, process, dynamism, vibration = energy.
But the mind can only conceptualize in absolutes...converting processes into 'things,' and 'fluidity' into 'one'.....with the nil being added as a 'logical' part of binary thinking.
So, art attempts to allude to what cannot be represented - metaphors.
Language is an art that is taken literally.
The only place absolute exists is in the mind...and there only because they are vague, obscure, simplifications/generalizations of fluidity.

Always ask them to define the words they use.
Imbeciles hate to define the words they use because this will expose how simplistic and self-serving their theories are.
Always define your own words by connecting them to perceptible phenomena...for example, when I define 'morality' I do not allude to not god, ro spirit, or magical essence, or universal innateness....but to observable behaviours.
The Modern moron loves ideologies of the mind....because in the mind all theories are 'perfect'. They love vagueness and obscurity, because there they can claim anything, and justify it by alluding to more imperceptible abstractions.
Some also love the fact that nothing can be absolutely proved or disproved, because then they can dismiss any theory, as lacking absolute evidence, and validate their own, as being just as probable as any other.
Their motive is not to see world, but to self-medicate, self-deceive. you can never 'win' such psychotics. Nothing you can say, no argument logical or rational enough to sway them from their self-imposed incarceration.They are institutionalized...and if you know anything of this psychological state, then you will understand how they cannot because they will perish.....it's a matter of survival for them.

Pagan realists have the advantage of being honest. They admit that they are not absolutely certain, since nobody can ever be....and that they do not know the absolute truth.
They only claim to hold a superior theory...a more accurate approximation.

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PostSubject: Re: F-Art F-Art - Page 3 EmptySat Dec 15, 2018 4:39 pm

Lakonizein....
Order = another name for the Abrahamic one-god.
Logos = word/number representing the absolute. The 'first-word' (alpha) is 'god,' or 'one'...its mathematical presentation.
Secularists prefer 'one'...its considered progress, evolving from primitive anthropomorphic infantile abstractions, towards teenage angst, loss/rejection of the father-figure etc..
It's all psychological, because the noumenon is mind.
Mankind is gradually maturing.
The difference between positive and pure nihilists is that the first have to anthropomorphisize order, and the second secularize it....or the first need to make the absolute 'good' and the second 'bad' and/or 'indifferent'; the first believe in absolute ONE, and the second in absolute NIL.
They both believe in the same absolute, only they approach it from opposite psychological perspectives - bipolar, binary thinking - ONE coin two sides: Heads or Tails?

They do this with everything.
They cannot do otherwise.
So, will is either absolutely free, or absolutely un-free....and the world is either entirely created, determined, by god, or faceless order, or it is entirely determined by man.

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PostSubject: Re: F-Art F-Art - Page 3 EmptySat Dec 15, 2018 5:00 pm

If it's not 0 nor 1, if it's not absolutely right or wrong, then how am I supposed to be absolutely right about something?
Most importantly, how can I absolutely defend my position and repel all challenges from some other guy linguistically. I mean, that's what being right is all about, no? To win the arguments like a god with his divine logic language.

It's like a rap battle, the difference is it's for people with a pink shirt instead of wearing some trousers hanging beneath your buttocks. Some genius might manage to do both at the same time.
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PostSubject: Re: F-Art F-Art - Page 3 EmptySat Dec 15, 2018 5:36 pm

Anfang wrote:
If it's not 0 nor 1, if it's not absolutely right or wrong, then how am I supposed to be absolutely right about something?
Most importantly, how can I absolutely defend my position and repel all challenges from some other guy linguistically. I mean, that's what being right is all about, no? To win the arguments like a god with his divine logic language.

It's like a rap battle, the difference is it's for people with a pink shirt instead of wearing some trousers hanging beneath your buttocks. Some genius might manage to do both at the same time.
You can't be absolutely right, but only superior.
Two reasons:
1- man is imperfect, and his knowledge incomplete and subjective.
2- the cosmos is fluid, so it is constantly changing.
Best you can do is find patterns in the fluidity, that hold true for longer periods of time, or across longer/broader spatial dimensions.
A theory is never absolutely correct...it is the best approximation....it is only superior to another theory.
Fluctuating cosmos does not mean all is changing at a speed that nothing holds true.

Superiority is based on precedent....past.
The superior position has more basis on precedent, and more references in the real - empirical and historical foundations.
Life is evidence of the fact that patterns persist over huge spans of space/time.
That's how you distinguish the superior from the inferior theory....the superior one holds true over larger spans of space/time; the inferior, if it applies to space time at all, is shallow, short-lived, ephemeral and can only explain reality partially.

The best 'proof' is the application of a theory and the juxtaposition of the consequences in relation to the intent, the expected.
Second option is juxtaposing the theory with reality, and evaluating the quality and quantity of references, in relation to those of another.
The inferior theory only remains theoretical and avoids both being applied, or using a shared reality as a standard...it wants to remain noetic, entirely theoretical...and esoteric: abstract, emotional, triggering feelings, obscure. It wants to use psychology as the standard.
The worse kind of imbecile is the positive nihilist, because he dares apply his theory - being childishly over-confident - and then evaluates the negative outcome by blaming others, not the theory itself.
Christians blame it on the 'sinfulness' of man...his 'fallen' status.
Marxists blame it on Capitalist greed, bad education of the masses...slaughtering millions because they cannot question their own dogma.

To 'win' an argument you must convince the adversary that sensuality is the standard....that what we perceive is the starting point....not what we think, or imagine, but what we perceive - the world.
If this is not possible, do not bother debating at all...you re dealing with an imbecile, a coward and/or a hypocrite.

Bring it 'down to earth' and build your case from the bottom-up....from as far back as you can, from across historical and geographical and tribal (cultural) expanses and from constantly returning to the perceived, the empirical.
The superior theory holds true in all historical times and within all cultures - memes.
Conceded the humble fact that there is no certainty, because there is no absolute, and to be certain you would have to be god - an impossibility -and it implies that the universe is static or a one, a whole.
I've explained how the concept of one...'uni-verse' and of whole is manufactured in the brain.

When an imbecile uses 'whole' he is presuming a start and end, or another...and in the case of cosmos he is 'exiting' space/time.
From inside space/time there are no ones or wholes...only processes and multiplicity.
Only through the imagination can man noetically 'exit' space/time, to juxtapose the real with an imagined unreality...constructing the concept of wholeness.
Ask the morons to point to an absolute...not to speak of it, name it, write it, think it.....but point to it....outside all minds so all can appreciate it.

Ask them to point to one 'one,' or one 'whole', or one immutable, indivisible thing.
They cannot because it only exists in the mind as an idea.
All absolutes are theoretical, ideological, concepts, abstractions....no absolute exists outside mind.

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PostSubject: Re: F-Art F-Art - Page 3 EmptySat Dec 15, 2018 6:17 pm

The desire to eliminate all competition is sought after by both the modern high and low man both representing the two sides of nihilism, stagnation and annihilation.

I tend to disparage the former type more as he is more subtle about hiding his cowardice towards maintaining his dominance honestly and instead contributing to a culture where he emasculates or kills other men before they can challenge him.

In my profession I see many "Alpha" Chad type of men who seem indifferent to politics and the world around them but threaten their ideal of "peace" and you will see how quickly they reveal their insecurity towards honest competition. They want everything limited to a static social arena because there, their genetic inheritance will automatically give them a competitive advantage.

This is why Cronus ate his own children before they came to term, he was afraid of their potential to usurp him and "ate" them, only contributing to his own development like a miser, instead of allowing his seeds to branch out and establish their own dominions.

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PostSubject: Re: F-Art F-Art - Page 3 EmptySat Dec 15, 2018 7:15 pm

It's part of an honour system, or it would be part of the honour system.
Someone with very modern sensibilities would probably see in an honour system or in duels only potential problems and dangers for himself, while they function as ways for men to rise in status other than through something like servitude.

I's even say, no honour system in place, no masculine principle in society, no men living as men in a society.
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PostSubject: Re: F-Art F-Art - Page 3 EmptyMon Jan 28, 2019 10:24 pm


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PostSubject: Re: F-Art F-Art - Page 3 EmptySat Mar 30, 2019 7:52 am



Art reflects culture, like appearance represents organic essence, and logos reflect psychosomatic processes.

Modern fArt is a reflection of Modern decay and decline.
American Empire is declining, and this is reflected in the quality of its fArt - as the insides decay, gases accumulate and find their way out, through crevices and orifices, i.e., individual fArtists.
The cadaver bloats, appearing to be 'growing', before rigor mortis solidifies the cadaver, and the rotting process accelerates when vermin, maggots and all types of flesh-eating parasites begin to consume it from the inside-out.
Host dies, leaving the cadaver to the parasite, and virus, that overcame it, when its energies began to decline.

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PostSubject: Re: F-Art F-Art - Page 3 EmptyMon Apr 08, 2019 12:04 pm

Spengler, Oswald wrote:
What is practiced as art today — be it music after Wagner or painting after Cézanne, Leibl and Menzel — is impotence and falsehood. Look where one will, can one find the great personalities that would justify the claim that there is still an art of determinate necessity? Look where one will, can one find the self-evidently necessary task that awaits such an artist? We go through all the exhibitions, the concerts, the theaters, and find only industrious cobblers and noisy fools, who delight to produce something for the market, something that will “catch on” with a public for whom art and music and drama have long ceased to be spiritual necessities. At what a level of inward and outward dignity stand today that which is called art and those
who are called artists! In the shareholders’ meeting of any limited company, or in the technical staff of any first rate engineering works there is more intelligence, taste, character and capacity than in the whole music and painting of Present day Europe. There have always been, for one great artist, a hundred superfluities who practiced art, but so long as a great tradition (and therefore great art) endured even these achieved something worthy. We can forgive this hundred for existing, for in the ensemble of the tradition they were the footing for the individual great man. But today we have only these superfluities, and ten thousand of them, working art “for a living” (as if that were a justification!). One thing is quite certain, that today every single art school could be shut down without art being affected in the slightest. We can learn all we wish to know about the art clamor which a megalopolis sets up in order to forget that its art is dead from the Alexandria of the year 200. There, as here in our world cities, we find a pursuit of illusions of artistic progress, of personal peculiarity, of “the new style,” of “unsuspected possibilities,” theoretical babble, pretentious fashionable artists, weightlifters with cardboard dumbbells — the “Literary Man” in the Poet’s place, the unabashed farce of Expressionism which the art trade has organized as a “phase of art history,” thinking and feeling and forming as industrial art.
Alexandria, too, had problem dramatists and box office artists whom it preferred to Sophocles, and painters who invented new tendencies and successfully bluffed their public. What do we possess today as “art”? A faked music, filled with artificial noisiness of massed instruments; a raked painting, full of idiotic, exotic and show card effects, that every ten years or so concocts out of the form wealth of millennia some new “style” which is in fact no style at all since everyone does as he pleases; a lying plastic that steals from Assyria, Egypt and Mexico indifferently. Yet this and only this, the taste of the “man of the world,” can be accepted as the expression and sign of the age; everything else, everything that “sticks to” old ideals, is for provincial consumption.
Decline of the West

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PostSubject: Re: F-Art F-Art - Page 3 EmptyMon Apr 29, 2019 7:17 pm



Many dipshits who can strum a guitar believe that they are musicians, thus, some faggot who can prolong one note or melody in some grandiose way, dazzles idiots into rapture because it forces itself unto there gullible mentalities, it rapes them into impetuous adulation. It’s about impact, force, shock, jarring effects, and of course sensationalism. There is a very distinct reason why nigger music is based on beats. Moderns are animals. They want the effect, the sensation, the feeling, the performance.
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