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Kvasir
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Kvasir

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PostSubject: Re: F-Art F-Art - Page 4 EmptyFri Jun 21, 2019 9:10 pm

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Satyr
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PostSubject: Re: F-Art F-Art - Page 4 EmptySat Jul 13, 2019 7:14 am

Yockey, Francis Parker wrote:
Because of the extent of their public power, they were able to hold up these horrors as worthy successors to Rembrandt and Wagner. Any minor artist continuing to work in the old traditions was smothered, while a Culture-distorter was praised as a great artist.
The tendency in the middle of the 20th century finally became simply to take old works of art and distort them, without any pretense as to the process. A form of ‘music’ taken from the primitive culture of African aborigines was adopted, and the works of Western masters were forced into this form. The pretense of originality was given up. When a Culture-distorter produced a drama, it was often simply a Shakespearean play, distorted, twisted, and made to convey the social propaganda of the distorter. Any other drama was stifled by the total ascendancy of the Cultural outsider, and his control of the channels of publicity.

The (((parasite))) has no notable art of its own.
It appropriates - as parasites do - from the host and then corrupts it to its own parasitical needs - cultural distortion.
Using proxies - i.e., Negroes as the epitome of victim-status, after the parasites own - are put on the forefront, as front-men of cultural appropriation and degeneration.

The only true art the parasite developed is the linguistic art of manipulation and exploitation.
Its 'sacred texts are training manuals for linguistic manipulation of psychology - a sale's man talent.
cRap music offers as an embryonic form of cultural distorting methodologies, i.e., sampling, corrupting, reducing the intellectually high to a physical low - degeneracy.
Target audience is the host's youth - and females - the most vulnerable segments of the host's essence.

The alien meme exposes itself through its indifference towards the host-meme's future.




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Satyr
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PostSubject: Re: F-Art F-Art - Page 4 EmptyFri Aug 02, 2019 7:53 pm

Lasch, Christopher wrote:
Whereas the 'classical' drama of Sophocles, Shakespeare, and Ibsen turned on conflicts associated with classical neuroses, the absurdist theater of Albee, Beckett, Ionesco, and Genet centers on the emptiness, isolation, loneliness, and despair experienced by the borderline personality.
The affinity between the theater of the absurd and the borderline's [1.] 'fear of close relationships,' [2.] 'attendant feelings of helplessness, loss, and rage,' [3.] 'fear of destructive impulses,' and [4.] 'fixation to early omnipotence' inheres not only in the content of these plays but – more to the point of the present discussion – in their form.
The contemporary playwright abandons the effort to portray coherent and generally recognized truths and presents the poet's personal intuition of truth. The characteristic [A.] devaluation of language, [B.] vagueness as to time and place, [C.] sparse scenery, and [D.] lack of plot development evoke the barren world of the borderline: [X.] his lack of faith in the growth or development of object relations, [Y.] his 'oft-stated remark that words do not matter, only action is important,' and above all [Z.] his belief that the world consists of illusions. 'Instead of the neurotic character with well-structured conflicts centering around forbidden sex, authority, or dependence and independence within a family setting, we see characters filled with uncertainty about what is real.' This uncertainty now invades every form of art and crystallizes in an imagery of the absurd that re-enters daily life and encourages a theatrical approach to existence, a kind of absurdist theater of the self.

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Satyr
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PostSubject: Re: F-Art F-Art - Page 4 EmptyFri Aug 09, 2019 8:29 am

Mencken, H.L. wrote:
Art and Nature: The doctrine that art is an imitation of nature is full of folly. Nine-tenths of all the art that one encounters in this world is actually an imitation of other art. Fully a half of it is an imitation twice, thrice or ten times removed. The true artist, in fact, is seldom an accurate observer of nature; he leaves that gross and often revolting exploration to geologists, engineers and anatomists. The last thing he wants to see is a beautiful woman in the bright, pitiless sunlight.
In a post-modern age even the attempt to represent reality, natural order, as precisely as possible, is an act of contradiction of the prevailing Zeitgeist.
The "objective" world does not exist - for those using nihilism as defensive shield - and all is subjective, therefore art is reduced to fArt, requiring no talent, because there's no way to determine quality, other than through popularity.

what is true for all art-forms must be true for the linguistic arts, particularly that of philosophy.
we can paraphrase Mencken and focus on philosophy.
Satyr wrote:
Philosophy and Nature: The doctrine that philosophy is an imitation of nature is full of folly. Nine-tenths of all the philosophy that one encounters in this world is actually an imitation of other philosophies. Fully a half of it is an imitation twice, thrice or ten times removed. The true philosopher, in fact, is seldom an accurate observer of nature; he leaves that gross and often revolting exploration to geologists, engineers and anatomists. The last thing he wants to see is a beautiful woman in the bright, pitiless sunlight.


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PostSubject: Re: F-Art F-Art - Page 4 EmptyFri Aug 09, 2019 9:46 am

Lasch, Christopher wrote:
Whereas the 'classical' drama of Sophocles, Shakespeare, and Ibsen turned on conflicts associated with classical neuroses, the absurdist theater of Albee, Beckett, Ionesco, and Genet centers on the emptiness, isolation, loneliness, and despair experienced by the borderline personality.
The affinity between the theater of the absurd and the borderline's [1.] 'fear of close relationships,' [2.] 'attendant feelings of helplessness, loss, and rage,' [3.] 'fear of destructive impulses,' and [4.] 'fixation to early omnipotence' inheres not only in the content of these plays but – more to the point of the present discussion – in their form.
The contemporary playwright abandons the effort to portray coherent and generally recognized truths and presents the poet's personal intuition of truth. The characteristic [A.] devaluation of language, [B.] vagueness as to time and place, [C.] sparse scenery, and [D.] lack of plot development evoke the barren world of the borderline: [X.] his lack of faith in the growth or development of object relations, [Y.] his 'oft-stated remark that words do not matter, only action is important,' and above all [Z.] his belief that the world consists of illusions. 'Instead of the neurotic character with well-structured conflicts centering around forbidden sex, authority, or dependence and independence within a family setting, we see characters filled with uncertainty about what is real.' This uncertainty now invades every form of art and crystallizes in an imagery of the absurd that re-enters daily life and encourages a theatrical approach to existence, a kind of absurdist theater of the self.

Under the shadow of existential counter-intuitiveness, nihilists take advantage of the opportunity to promote their own “absurdities” as being the equal to all others. Through absurdities man attempts to approach the real, having discovered that his own intuitions are insufficient and prejudiced; confronted by a fluctuating world, including randomness, which his ordering mind cannot adequately make sense of. Unable to discern other through the prism of self, man settles for projecting his own reactions to what is incomprehensible, exposing his own psychology in the process.

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