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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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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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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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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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PostSubject: Re: F-Art F-Art - Page 4 EmptyWed Oct 09, 2019 6:43 am


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PostSubject: Re: F-Art F-Art - Page 4 EmptyTue Mar 10, 2020 11:08 am

McGilchrist, Iain wrote:
Art is by its nature implicit and ambiguous. It is also embodied: it produces embodied creations which speak to us through the senses, even if their medium is language, and which have effects on us physically as embodied beings in the lived world. The Enlightenment is concerned primarily with the intellect, with all that ‘transcends’ (from the Enlightenment point of view) the limitations of the contingent and the physical, the incarnate and unique. Enlightenment art is, therefore, something of an oxymoron. The two art forms that are least vulnerable to explicitness are music and architecture – not because they are congenial to it, but precisely the opposite, because they are so inherently implicit (though one can ask what a poem or painting is ‘about’, the question becomes vapid when applied to music or architecture).

fart is, therefore, a product of fermented inter-subjective abstractions that refer to nothing external but only as a reaction to it - usually a collective, communal, reaction, expunging accumulated anxieties and insecurities in the form of gibberish and confusion, attempting to dis-empower the unknown and the chaotic by giving ti an occult order and motive.

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PostSubject: Re: F-Art F-Art - Page 4 EmptyWed Mar 18, 2020 2:14 pm

McGilchrist, Iain wrote:
As, with the advance of modernism, art became ever more self-conscious, it encountered further problems. Alienation, fragmentation, decontextualisation: the defining features of the modern world were as problematic for art as they were for society, since art, like society, derives its meaning and power from connection, cohesion, context. The predicament of art in the modern period could be said to be how to respond to this challenge. And its problem is made more intractable by a different sort of deracination – more than just the severance from place, or even from history, but the inevitably consequent severance from the roots of all meaning in shared values and experiences, the vast implicit realm from which imagination draws its power. Once this rupture has occurred, it can no more be remedied by a conscious effort of the will than a flower plucked from the plant can be made to grow again by being stuck back on the stalk.

[The Master and His Emissary]

McGilchrist, Iain wrote:

Few artists of the period have escaped the problem entirely; many have not escaped it at all. But this fact is carefully obscured, I believe, by two tendencies in the criticism of modernism (themselves both modernist tendencies). The first is a willingness to accept an explicit manifesto or message (again, as in the Enlightenment) as a substitute for imaginative experience: this is often an apparently coded message, which thereby flatters the decoder. We seem to see art, where we have nothing more than a text. The other tendency complements it: in the absence of a message we tend to ‘stare’ at it until it is freighted with meaning. It's rather like the projections we make into a Rorschach blot. We mistake our lonely monologue for a dialogue. Tristan Tzara, one of the founders of Dadaism, rather gave the game away when he proclaimed, at the outset of modernism, that art had become ‘a private affair – the artist produces it for himself’, and judgment had become completely subjective.
[The Master and His Emissary]

Subjectivity, as defined within post-modernism, was a projection of whatever meaning the observer needed and desired – a form of empowerment that made the artist's intent increasingly irrelevant, and often, as with more advanced and degenerate pieces, made his talent increasingly unnecessary. This tendency can be transferred to any form using semiotics – including philosophy.

McGilchrist, Iain wrote:
As modernism progresses, alienation, through shock and novelty, become defences against the boredom and inauthenticity of modernity. The inauthenticity against which modernism reacted is not in doubt. But there are, as I suggested in Chapter 7, two directions in which, under such circumstances,
one might go. One can see the problem as a contingent loss of the authenticity of the right-hemisphere world and try to re-engage the right hemisphere, by patiently clearing away the adhesions of familiarity overlying one's subject; or one can see the right hemisphere's world as intrinsically inauthentic and try to sweep it away altogether. Newness (seeing afresh what one thought of as familiar, as though for the first time – the patient process of Romanticism) and novelty (deliberately
disturbing the representation of reality in an attempt to ‘shock’ oneself into something that feels unfamiliar) are contrary concepts. Viktor Shklovsky's call, in his essay ‘Art as Technique’, to ‘make it strange’ could represent either. It has usually been interpreted as the second, but I do not think this is what he had in mind, as his delight in Tolstoy – and in the novels of Sterne – would suggest. He noted that Tolstoy ‘describes an object as if he were seeing it for the first time, an event as if it were happening for the first time’, and wanted to recapture that authenticity. Indeed, although his essay was taken as a manifesto by the Formalists, it is clear that what he is talking about is not sensationalism, shock tactics or bizarre distortions at all – in fact, the opposite. ‘Habitualisation’, he writes,
Viktor Shklovsky wrote:
devours works, clothes, furniture, one's wife, and the fear of war … art exists that one may recover the sensation of life; it exists to make one feel things, to make the stone stony. The purpose of art is to impart the sensation of things as they are perceived and not as they are known… .’
[The Master and His Emissary]

The ability to produce uncanny combinations replaces the unforeseen with novelty. A fArtist is now judged by how well he can recombine the old in strange new forms, and resell them as novel and unique to masses starving for adrenaline rushes in an entirely safe and regimented world. Artistry of shock and awe. Talent replaced by the ability (creativity) to produce the unexpectedly supernatural and extraordinarily unreal.

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PostSubject: Re: F-Art F-Art - Page 4 EmptySun Apr 26, 2020 9:08 am



Art is to culture (super-organism) what Behaviour is to life (organism).
Nihilism, in particular, is entirely logo-centric - ti does not exist without semiotics; nothing it says, thinks, has any reality outside the minds that adopt them as a deference against reality itself.
Nihilism can only selectively sample reality, and natural order, and recycle manmade constructs - ideas and ideals - so it inevitably becomes self-referential and solipsistic - compensating by altering the sequence and the symbols/words to hide its looping loopines.

fArt is like a canary in the mid-shaft - an indication of accumulating toxic fumes, reflecting urban alternate artificial realities, and a declining American Empire.

Black Pigeon mistakes American decline and hitting the apex of its idealistic proposition for mankind's.
He confuses world for humanity, or more precisely he associates mankind with Americanism.
I would imagine that when Rome went in decline, after centuries of dominion, the Romans experienced this as an 'end of the world' scenario, and their own 'hitting the wall' for a human cognitive wall.

The U.S. is certainly over the apex of its power and is now in full decline, and this could not but be reflected in its mass-produced, recycling, selectively sampling, fArt and cRap industries - the globalizing long reach of tis mind-warping soft-power.
Many causes....one being the gradual decline of importing creativity from other parts of he world - primarily Europe. After decades of dumbing-down its own European populations and miscegenation all that is left are importing from sub-standard populations inn Latin America, Asia, and...Africa.
The effect is now becoming felt and Jewish 'genius' simply regurgitates what it has appropriated and Judaized to protect itself from more virile races and tribes, so they can only repeat the same 'victim' themes, with them as the ideal 'messianic victims' to be envied and imitated, or surrendered to.

Another factor is political-correctness. How can you create when you are constantly being censored, and your work adjusted to not insult or hurt anyone?
The product is a slow decent to mediocrity - the lowest-common-denominator - bland, dull, safe, and uninspiring because it does not challenge the mind in any way - it does not cause anxiety or any degree of stress.
With no physical/mental stress (suffering/anxiety) there is no growth, no evolution - there is only stagnation.
No pain...no gain. A simple but accurate simplification.

The speaker believes evolution has stopped because we are in a state of devolution - which is also part of the process. He is a product of Americanism, and believes progress is a constant ascent towards higher and better states of being.
A psychology infected by Abrahamism - spiritual nihilism - and its secular, ideological, branches.

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PostSubject: Re: F-Art F-Art - Page 4 EmptyFri Jun 12, 2020 4:47 pm



Quotas in fArt....
The quality will plummet to an all time lowest-common-denominator.

Prepare for years of idiotic propaganda and emotional moral preaching and virtue signalling.
The old classics will be remade, erasing all semblance of realism.
We'll be re-educated, through decades of Hollywood and pop-fart cRap brainwashing of how things "really were", or "ought to have been".

Maybe even the ancients Romans will be Negro-fied, and Rome Jerusalem-fied....Jerome Caesar....Tesla was really Tyron, Socrates was really a sub-Saharan named Soliquiy...and maybe Napoleon was a Libyan named Nakase fufa *click Bumbasa...
Who knows?....poetic licence...now that's fArt!!!

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PostSubject: Re: F-Art F-Art - Page 4 EmptyThu Nov 19, 2020 10:44 am

Linked to on Hyperborea by...
Kvasir wrote:

In a psot-modern world of increasing idiocy, even a chimpanzee can be a "genius artist" - fArtist - displaying his Intellectual brilliance only fools would study and purchase - projecting into them their own subjectivity, in an intger-subjective world.

There is no objective way to make any type of "Nazi", Satanic, evil, discriminatory judgement.

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PostSubject: Re: F-Art F-Art - Page 4 EmptySat Nov 28, 2020 7:26 pm

What is amazing about Modern fArt is that the audience can find whatever they project into any piece of cRap fArt piece.
The fArtists only has to create an insinuating sequence of words, or images, that can trigger an average idiot's imagination - tickle his fancy, inflate his ego - projecting his own psychosis as if the fArtist intentionally put it there.

Unfortunately this method has spilled into philosophy, or any craft that uses language or symbols.
Gibberish is presented - implying depth and profound meanings - and the impressionable nitwits find whatever it is they are personally looking for, feeling like they've made a connection with another spirit, that they too are smart enough to appreciate complex fArting, because the text itself is meaningless nonsense that inhibits no interpretation of it, no matter how absurd; it's "all inclusive", and will not disappoint or exclude anyone...well other than the one that cannot surrender to the lie.
The words do not refer to anything tangible or experienced, so they can become anything for anyone at any time...and all would be equally correct.
See where the delusion that everything, including race and sex, but also taste and beauty is subjective, comes from?
All is subjective so everything is good art, and beautiful...at least for someone....any one.
Everyone can pretend to be a fArtist if he can market himself successfully - prostitute himself to the lowest of the low - or indiscriminately seduce a following to validate his "creative genius". Code for: find enough desperate degenerates, like himself, to collectivize.
Nay sayers simply cannot appreciate his "genius"...they may envy it unable to stoop so low, or they may just see through the ruse the fArtist himself has bought into, because he wants to so very, very, much.

We are in the age of decadence and decline.
We should expect far worse in the years to come.

Secluded butterfly flutters high
falling raindrops shimmer and sigh
the moon glows calling out for more
but she waits for the sun




Tree roots digging into Hephæstus' cloister
Mermaids sing and dance dripping moister
Satyr rises horny calling them to cum
Daring him to penetrate and enjoy the fun


Why do moderns, and females, like this kind of word associating crap?
Because it doesn't impose itself, doesn't inhibit their fantasies with a meaning; it does offer order but allows the reader, listener, to find it in himself/herself.
It doesn't challenge him/her with intent. The listener can find any intent, because it is his own. It tickles her, pulling her repressed juices to flow outward.
It doesn't exclude, but it remains vague enough to be inclusive.

Obscurantism.
Same thing is attempted in philosophy.

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PostSubject: Re: F-Art F-Art - Page 4 EmptyWed Dec 02, 2020 5:05 pm



Who controls Hollywood?

The "boxes" he speaks of are "victim credits".
Guess who is on the top of the victim pyramid.
When he says "World War II" he means Holocaust reference - tick a box.

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PostSubject: Re: F-Art F-Art - Page 4 EmptyWed Dec 02, 2020 5:16 pm



Ever since those two lads, of that particular ethnicity/dogma, invented Superman to mock Aryanism, they've converted comic books into representation of Dutton's "spiteful mutants".
A variety of urban mutants, called "heroes" fighting against oppressive authoritarian evil "villains" that just cannot accept them for what they are.

Years ago I had posted a thread in which I explored the psychological symbolisms of pop-cultural modern mythological caricatures/characters - starting from Hannibal Lecter and proceeding through the Marvel and DC canons.
Under-World, I had called it.

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PostSubject: Re: F-Art F-Art - Page 4 EmptyWed Jun 09, 2021 3:54 pm



This is the outcome of nihilism and its obscurantism, plaguing language and philosophy.
Gibberish pretending to be profound insights...nothing clothed with marketing lingo to be sold to morons and simpletons, like those on ILP. 
Words referring to more words, marketed with pretty prose that play with human vanity and fear of being excluded - promising great power, wealth, extraordinary rewards for those who "get it".
Charlatans....the milieu of the people of the book, by the book, for the book.

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PostSubject: Re: F-Art F-Art - Page 4 EmptyWed Jun 09, 2021 8:56 pm

This should be remembered. It represents more than another nihilistic art monstrosity, but a cultural milestone in civilization. The “emptiness”, the “nothingness”, indicating very clearly, that true genius, greatness, creativity is dead and died a long time ago with nothing to take its place. Nothing left but darkness, the void. The retard responsible for this doesn’t realize that his name will not be remembered, because he created nothing. This is only an 'event', a symptom of the sickness, aggressive enough to radically change the appearance of the victim.
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PostSubject: Re: F-Art F-Art - Page 4 EmptyWed Jun 09, 2021 9:55 pm

This is the end result of losing confidence in everything you believed in, in everything you took for granted as absolute truth, unwilling to consider the possibility that your entire belief system is based on errors, or lies, sold to you by grifters and cultural distorters.
This void in yourself is projected outward, as an accusation against some vague other, some external agency, some occult power.
Entire lives founded on bullshit, superstitions, cultural contrivances....inherited from trusted loved ones as a precious inheritance, now exposed as void of all value.

The psyche can't process the world shattering implications...so it doubles-down, accusing the entire cosmos of being empty of meaning, and void of substance.
Its existential anxiety projected outward, at anything and anyone...at an unknown otherness.
Someone or something is responsible, because it hell not is them....they remain innocent; their naivete, if it cannot be made into a victim of another, must b a universal truth. 
This is selective skepticism pushed to tis absolute limit.
Losing trust in your own judgments has a traumatic effect. The mind finds a solution - it will doubt everything equally and relentlessly. Everything will be reduced to an error until all lose confidence in their judgements, their senses, their very minds.
How can anyone trust anything if these altruistic principles have proven to be incompetent and false?

A benevolent one-god is dead - certainty dies with him - authority, goodness. 
What is left?
A vacuum; the abyss.
If heaven has been exposes as a dream of men-childsren, and heaven on earth has proven to be elusive, then what is left?
A collective state of limbo....waiting for a sign.

Then the charlatan priestly miser enters the scene to lead the sheeple to "peace and safety" - which is slaughter.

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PostSubject: Re: F-Art F-Art - Page 4 EmptySat Jul 10, 2021 8:19 am

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PostSubject: Re: F-Art F-Art - Page 4 EmptyTue Jul 13, 2021 1:38 pm

It would be easy to blame the Star Wars sequels on the Chinese Communists and Jews who own Disney (those who bought it from the deceased Walt Disney, a known anti-semite), and bought the Rights to Star Wars to make more money.  But that wouldn't be completely accurate.  It is also, mainly, the fault of George Lucas, for selling himself out, like a whore.  This is the theme of America in the 21st Century, as Biden, and his son Hunter Biden, have also sold-out the US White House for $1 billion to the Chinese Communist Party.  There is an overarching theme here: selling-out.

So Western Civilization and all under its purview, should recognize and accept this.  It not only applies to art, but also to every other stretch of society.



Here is how Western Civilization is being gutted, disemboweled, and bled-out like a dog on the street "metaphorically":

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PostSubject: Re: F-Art F-Art - Page 4 EmptyThu Jul 15, 2021 12:58 pm

"The audience sees through it (the propaganda)":

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PostSubject: Re: F-Art F-Art - Page 4 EmptySat Sep 18, 2021 1:10 pm



‘Suggestibility’, ‘impact’, ‘shock value’, are what modern artists rely upon to sway excitable responses that the viewer interprets intellectually. The mind always seeks to identity with its world, and so even in these grotesque mediums some will believe or invent, that there is something hidden in it which speaks to them and thus make it meaningful.
Herd psychology is a big part of it; the collective acceptance and merit of such works, influences a viewer’s experience that what they are seeing is not a schizophrenic subjective visage of someone’s disturbed mind, but truly a ‘beautiful’ depiction they can connect with even if it disgusts them; their ‘disgust’ they simply incorporate into how they are supposed to feel about it, and so what disgusts them becomes part of its beauty.


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Satyr
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Satyr

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PostSubject: Re: F-Art F-Art - Page 4 EmptySat Sep 18, 2021 2:07 pm

This is what obscurantism does...like Kabbalism, or Gnosticism.
It uses nonsense to imply something deep and profound, when it is useless semiotic insinuating crap that trigger secret fears and manipulate hidden desires.
The mind fills in the absence of substance...like when you read a text where every word is missing a letter or two.
Like astrology.
They rely on suggestibility, impressionability, gullibility, and the need for humans to be included, to find meaning/purpose in their life; a need to find a solution.

A medium through which charlatans, gypsy parasitical souls, exploiting human need/desire attain power.

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Satyr
Daemon
Satyr

Gender : Male Pisces Posts : 26729
Join date : 2009-08-24
Age : 55
Location : Hyperborea

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PostSubject: Re: F-Art F-Art - Page 4 EmptySun Nov 28, 2021 1:20 pm



Another product of a steady diet of pop-cuture.
A gaseous expulsion that will make a large, sometimes impolite, noise, followed by a lingering stink, that will soon be blown away.

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