i kinda find most ‘magickal’ ‘esoteric’ (crowley-esque) thinking / traditions to be fundamentally the ploys of idle wealthy brats (or the otherwise chronically privileged) , aimed at justifying and reifying solipsistic self-interest and repudiation of any social responsibility or inhibition of their boundless entitlement . basically a deeply conservative right-wing neoliberal tradition
i used to find value in a lot of transgressive ‘art’ / cultural production or whatever regardless of who the creator was but then started to realize that theres rly nothing ‘transgressive’ or subversive about straight white men steamrolling standards of decency & morality —> it’s basically the defining dominant force of the entire history of Western Civilization
(in other words both start seeming like sites of and vehicles for the conservation , reinforcement + reproduction of traditional privilege and power centers , when theres at least an intimation or outright claim of the opposite)
Many people would rather endure physical pain than suffer their own wandering cogitations.
…participants were given a small electric shock — akin to a jolt of static electricity — that was so unpleasant that three-quarters of them said they would be willing to pay not to experience the shock again. Yet when they were placed in the room to sit alone with their thoughts, 67% of male participants and 25% of female subjects were so eager to find something to do that they shocked themselves voluntarily.
know a few of these…
(this prob has more to do w attention span / curiosity / conditioned expectations of incessant novel stimuli / notifications / infinite scroll etc than true #autophobia but still)
i dont even understand how good this kid [ «« NOOOOOOO HIS SPEAKING VOICE OMFG *dies* <3<3 ] sings. like what is the world
beyond technical ability or form or his immaculate tone / range , the ease n nuance he brings - never oversinging or stressing every run or flourish, nothing to ~prove - is something great singers dont even usually reach til well into maturity (sth im not even close to reaching)
also not 4 nth but — i swore off lofi old-timey freak folk a long time ago but the last track on the ep (a Lindi Ortega cover) is like some of the most beautiful dark songwriting ive heard in a long min , + his version takes it places. also the rest of the ep is vocal house so ??
10$ > 20 tracks > amazing art. 100% of $$$ goes to the homie WHORID and his mom who’s cancer has returned after 20 years in remission, bills and struggle piling up. this 10$ will mean much more to them than to ur next 2 shitty beers or whatever.
episode 9 of the new Cosmos is a fucking triumph (im still catching up). minimal grade school bible story cartoons and maximal timescale mindfuckage. also included one of the movingest bits from the og Sagan cosmos , the white outline morphing life-on-earth evolution illustration
required viewing for any1 w the slightest capacity for cognition etc
…the other Crash threatening us is that of cultural overproduction. The powers that be would have us believe that in the cultural market place, unlike in the commodity marketplace, demand still exceeds supply and will continue to do so for a good while yet. The people supposedly have an insatiable hunger for cultural goods. And so we get a guaranteed boom in all cultural “values or securities”. In fact, this is not at all the case. In the cultural economy of the average citizen (if such a thing exists), there is a noticeable surplus of supply over demand. It is like/just the same as at the supermarket. The illimited promotion of cultural products already far exceeds human capacity to absorb them. The average person no longer even has the time to consume his own cultural products, let alone those of others. The public does its best: people run round from one exhibition to another, from one film festival to another but their capacity or cultural labour is stretched to the limit. What results from this is an original form of cultural alienation, not due to lack or deprivation, but to surplus and saturation. In this new context, the degree of cultural alienation, that is of being held hostage by culture (by its ads., its media, its institutions) comes close to the degree of voluntary submission in politics.
… culture…has become: a market with all the effects of artificial shortage, spiraling values and speculation. And, as soon as one tends to confuse these exponential market factors with irresistible cultural progress, what looms on the horizon is the same reversal as occurred in the 1929 crisis in material production: overproduction, priority of supply over demand, the end of `natural’ assumptions about an economy that had become speculative, virtual and completely cut off from real wealth and real economic requirements. This is exactly what lies in wait for culture and a cultural market turned speculative. And there could very easily be like Black Thursday on Wall Street in 1929, a Black Sunday of culture.
The expansion of cultural production far surpasses the expansion of material production, and the result is cultural bottlenecks that are even more monstrous than blockages in the economy or our constantly paralysed traffic systems. For, in the open field of communication, anyone can produce gestures, texts, colours, signs and meanings, spontaneously and indefinitely in a kind of uninterrupted interchange. Anyone can stage his or her own performance, unfortunately in total indifference to the other, or with only a token superficial consent and in a certain sense this is unavoidable for how can these countless productions be adequately provided for? …who will save us from cultural overproduction when this market, in its turn, is saturated? Perhaps we will have to undertake a massive destruction of cultural values to save the stock market value of the sign, the stock market value of the cultural artifact, just as they once burned coffee in the furnaces of steam engine locomotives so as to to save the world price of coffee.
Already most non-material goods are meeting the same fate as material goods: forced production, forced advertising, accelerated recycling, built-in obsolescence. Art becomes ephemeral, not so as to express the ephemeral nature of life, but to adapt to the transience of the market. Rather than decadent, art is now degradable in line with the biodegradability of the physical world. Such is the fate of our cultural signs, be the disinvested or of transvestite nature, they are part of the pure and simple discount of degradable products.
Magick. Motherhood. Pain. Suffering. Blood. Tension. Nausea. Desire. Obsession. Addiction. Loathing. Violence. The loss of hope. Unfulfilled dreams. Unhealed wounds.
SOME THINGS HAVE TO BE ENDURED.
The latest offering from NY synth-death master Theologian (aka Leech, also the mastermind behind the renowned power electronics/death industrial outfit Navicon Torture Technologies), “Some Things Have To Be Endured” features eight new tracks of punishing black industrial, apocalyptic darkwave frequencies, and nerve-rending electronic deathscapes. “Endured” is a collection of collaborations between Theologian and a lineup of female vocalists/artists from both within the industrial / noise / dark ambient / coldwave realm and beyond, with contributions from Rachael Kosak(Hecate), Kristen Rose (Sewer Goddess), Rachel Maloney (Tonikom), Nikki Telladictorian (Prometheus Burning), Patricia Benitez (Fetish Drone), Gillian Leigh Bowling (Teloahqaal), Christiana Key (Delphic Oracle), Joan Hacker(Factoria), Shari Vari (Void Vision), and professional opera singer Melissa C. Kelly. The tracks shift from grinding industrial dread to ethereal coldwave beauty, blasts of rumbling blackened synthcrush met with washes of haunting electronic melody, while always remaining rooted in Theologian’s bleak, jet-black industrial sound. Co-produced with Derek Rush/DREAM INTO DUST and mastered by James Plotkin, “Some Things Have To Be Endured” contains some of the most moving and dramatic music to emerge from Theologian’s black sonic abyss, and the cover comes adorned with striking photography by Ione Rucquoi that makes this one of the more visually arresting releases in Theologian’s growing catalog.