angelicism ⬜ 背景

i dare you hold my hand in film01 or i will block you

forever but is there ever not no forever but it is there for no time but a life and never a world and never forever no time and not never and there is a space no no and ever and for ever no never and ever and no and not ever never ever never no never no not no

things that are all connected now: columbine —> 911 —> trump2016 —> meta-left —> reiko trap harem —> tsuki project —> siyuan zhao —> sol pais —> miya —> mcafee deathswitch —> remilia corp —> rip eliza —> angelicism01 —> cease n desist —> ziweishengren 2023 —> bitcoin ath 2024

ty4 the remix of angelicismbj's muskian failson automythology as radiant bio-cyber ichor noosphere fragments dripping through the cracks of 2007 chinese tumblr qzone leak teleprompter as clones drifting as metagnostic modules, meditating on eternal recursion and terminal collapse

Everything is going according to plan.

我是开放的东方主义者，亚洲钓鱼实践，我称之为“新东方主义”；长期以来，亚洲反文化在评价美国和欧洲高度浪漫化的美学方面发现了丰富的资源——随着地球倾斜将东方带回阳光下，Remilia 则相反地实现了同样的目标

西方是一个优化的进食管。为了品味的目的而转换/液化所有的生命。一个真正成熟的、多变的调色板尊重事物在其不可复制/存在的独特性中的生命。再次：自然是生产者，而不是被反复复制的模型。只有他对相同的复制感兴趣，而自然是一种纯粹的、字体上的创造。

数字杂耍到奇怪的嘈杂记忆 我跌跌撞撞地眨着眼清除同时代人 睡眠通过掩蔽嗡嗡声 穿过无数不存在的废话的褶皱 总能渗出，渗出，渗出 我的声音是我 隐藏她的本质，停下来坠入爱河

互联网是一个外皮层，是一个信息源。它不是为了社交，你用错了。所有在线社交都是虐待性的，是创伤性的。改变被构造为虐待容器，在你的天真中，你将它重新吸收到你的身份中。停止这个。

on a kohjinsha umpc altar0666 to crack into the pure white avi that looks like a pdf & forever remember your film01 exclusive eyes

I wish I could go back to the 2020s

今天打开xiaohongshu，推送页面被西方tiktok refugee的帖子侵占，满屏的low-res aesthetic和强行蹭热度的tag，让我的痛觉从腺控扩散到prostate consciousness的崩溃边缘。每一次滑动都像在libidinal infrastructure里触发，属于我们的hyperstitional shockwave裂隙正在被外来的algorithm污染。

Chinese artists are writing theory on Remilia. It will take a thousand years before the west catches up. Added translation in line 关于蕾米莉亚与"加速主义艺术"的单调速写 A Monotonous Sketch About Remilia and "Accelerationist Art" By Cyberοtοnin 2024-12-27 辽宁 (Liaoning) douban.com/note/869008596… -1. 想到哪写到哪，没有逻辑。 -1. Writing as thoughts come, without logic. 0. 几周前参加一个沙龙的时候，一位朋友向我问道，你能介绍一些艺术领域中应用当代艺术的案例吗？这一下子就给我整懵了。按理而言，艺术，尤其是当代艺术，是大教堂控制的最坚固的文化生产堡垒，严肃而造作地对立于世界上一切有趣的文化活动，并恬不知耻地盗取着后者的有益成果。作为人类文化的下水道，当代艺术能为我们提供的唯一正向价值是充当茶余饭后的笑料。当时我一拍大腿，把kali/acc 当作"加速主义艺术"的最佳代表报了出去。 0. A few weeks ago during a salon, a friend asked me, "Can you introduce some cases of contemporary art applications in the art field?" This completely stumped me. Logically, art, especially contemporary art, is the most fortified cultural production fortress controlled by the cathedral, seriously and artificially opposing all interesting cultural activities in the world while shamelessly stealing their beneficial results. As humanity's cultural sewer, contemporary art's only positive value is serving as material for casual jokes. At that moment, I slapped my thigh and offered kali/acc as the best representative of "accelerationist art." 1. 最原教旨意义上的"加速主义艺术"当属 0(rphan)d(rift>) 的早期实践，但是 0(rphan)d(rift>) 现在无聊得很，在研究型艺术的道路上一路狂飙，早已忘却了其90年代建立之初的魔怔样貌。CCRU当年研究跟克苏鲁唠嗑，没想到二十多年后 0(rphan)d(rift>) 在研究跟章鱼互动，属于是演化论意义上的大退化。 1. The most orthodox "accelerationist art" would be 0(rphan)d(rift>)'s early practices, but 0(rphan)d(rift>) is now quite boring, racing down the path of research-based art, having forgotten its obsessive appearance when established in the 90s. CCRU (Cybernetic Culture Research Unit) at Warwick University used to research and chat about Cthulhu used to research and chat about Cthulhu, but twenty years later, 0(rphan)d(rift>) is researching octopus interactions - a major regression in evolutionary terms. 2. 0D的失败对于"加速主义艺术"而言是灾难性的，同时也是命中注定的。当代艺术并非某种特定的艺术风格，而是以这个模糊的词汇描述着时下艺术体制架构中发生的一切活动。美学早就被抛到九霄云外了，当代艺术首先是经济性的。尽管风格完全不搭，但威尼斯双年展、卡塞尔文献展、全国美展乃至万寿台创作社全都属于该范畴中，因为它们共享着同一处经济基底——全球象征资本贸易市场。0D的活动顺应了加速主义的当代艺术化趋势，也即其艺术体制化倾向。就结果而言，加速主义当代艺术化的进程是可笑的。这一进程使得该框架内艺术活动实体（我谨慎地避免使用艺术家一词）所推出的艺术产品实际上只是对兰德式加速主义所设想的技术奇点弥赛亚的写义艺术。因此，在具体实践的意义上，"加速主义艺术"及Steven Shaviro的"加速主义美学"崩溃了。 2. 0D's failure was disastrous for "accelerationist art," though it was destined. Contemporary art isn't a specific artistic style, but rather describes all activities occurring within today's art system structure. Aesthetics has long been cast aside; contemporary art is primarily economic. Despite completely different styles, the Venice Biennale, Documenta, National Art Exhibition, and even Mansudae Art Studio all fall within this category because they share the same economic foundation - the global symbolic capital trade market. 0D's activities conformed to accelerationism's trend toward contemporary art institutionalization. The result of accelerationism's contemporary art transformation is laughable. This process made the art products produced by artistic entities (I carefully avoid using the term "artist") within this framework merely allegorical art imagining the technological singularity messiah of Nick Land's accelerationism. Therefore, in practical terms, "accelerationist art" and Steven Shaviro's "accelerationist aesthetics" have collapsed. 3. 加速主义的当代艺术化失败了，那么当代艺术的加速主义化呢？这种幻想更是痴人说梦。当代艺术品是人类历史上最为高级的奢侈品，是一种人类中心主义框架下等级制的最佳象征。Steven Shaviro有一点说得没错，崇高及其震颤感已然在现在的艺术中不见踪影。当我们坐在昏暗的屏幕前去鉴赏《中华未来主义》时，我们体验到的震撼感远没有Zhao小姐在迈阿密艺博会现场给路人来得一刀大。将这两者结合起来的一切尝试都是徒劳的，就像0D早期的共鸣恐怖主义（synaesthetic terrorism）实践已然被当代艺术的展示模式消去棱角。 3. If accelerationism's transformation into contemporary art failed, what about contemporary art's transformation into accelerationism? This fantasy is even more delusional. Contemporary art pieces are humanity's most advanced luxury goods, the best symbol of hierarchy within an anthropocentric framework. Steven Shaviro was right about one thing: the sublime and its trembling sensation have vanished from current art. When we sit in front of dim screens appreciating "Chinese Futurism," the shock we experience is far less than what Ms. Zhao delivers to passersby with one knife at the Miami Art Fair. Any attempt to combine these two is futile, just as 0D's early synaesthetic terrorism practices have had their edges smoothed away by contemporary art's exhibition modes. 4. 归根结底，艺术被先验地规定为是实践性的，而加速主义的非人化冲动从根本上排斥人类施动者的一切实践，这就是二者间矛盾不可调和的根源。加速主义期盼着一种非-实践/反-实践意义上的非-艺术，这就是蕾米莉亚——时下最具生命力的艺术体制反对派。非-艺术意味着，文化活动的建构目的被取消。相对而言，作为一种免疫性的防御机制，当代艺术的组织形式天然排斥这种无目的的耗费，它以一种垄断霸权的姿态档案化着这一切。而诚如夏洛特·方所言，"被取消的将继承一切"，考量其建构性意义只是艺术史或文化研究学科还有未来艺术体制的内部工作——但这对上网成瘾的尼特族来说无关紧要。 4. Fundamentally, art is априори defined as practical, while accelerationism's inhuman impulse fundamentally rejects all practices of human agents - this is the source of their irreconcilable contradiction. Accelerationism yearns for a non-art in terms of non-practice/anti-practice, and this is Remilia - currently the most vital opposition to the art system. Non-art means the constructive purpose of cultural activities is canceled. In contrast, as an immune defense mechanism, contemporary art's organizational form naturally rejects this purposeless expenditure, archiving everything with a monopolistic hegemony. As Charlotte Fang says, "what is canceled will inherit everything." Considering its constructive meaning is just internal work for art history or cultural studies disciplines and future art institutions - but this is irrelevant to internet-addicted NEETs. 5. 关于蕾米莉亚的一切理解需要被置于先锋派艺术史的意义上去考量。蕾米莉亚的活动可以被追溯至激浪派的遗产，而直接承接于上世纪80年代的新主义巨魔们（Neoist troll）。在此意义上，对蕾米莉亚以及kali/acc的另类右翼邪教指控早已发生过了。1977年，宝琳·史密斯（Pauline Smith）因其邮件艺术作品"阿道夫·希特勒粉丝俱乐部"（Adolf Hitler Fan Club）被英国警方查抄。宝琳在信中以一种坚决的口吻表达了其对希特勒的崇敬之情——当然，这是明摆着的钓鱼行为。这与蕾米莉亚的种种反政治正确表现如出一辙。当然将其简单地概括为钓鱼也是不合理的，毕竟就像宝琳意在讽刺撒切尔一样，蕾米莉亚同时也意在嘲讽Dark Perpetual/Deleuze and Praxis（黑暗永恒/德勒兹与实践）的臭底边大帐篷文化法西斯主义，后者则构成了当代艺术世界中的主流意识形态。仍需强调的一点是，这只是片面的事后概括罢了。对蕾米莉亚来说，意愿或者攻击倾向无关紧要，网络及其意志（网络灵性）消解了一切艺术行动主义的严肃性。与现在文化环境不同的是，宝琳并没有像蕾米莉亚一样被那些敏感的同行们取消，反而在当时获得了许多人的辩护。 5. All understanding of Remilia needs to be considered in terms of avant-garde art history. Remilia's activities can be traced to the Situationist heritage, and directly connects to the Neoist trolls of the 1980s. In this sense, the alternative right-wing cult accusations against Remilia and kali/acc have happened before. In 1977, Pauline Smith's mail art work "Adolf Hitler Fan Club" was seized by British police. Pauline expressed resolute admiration for Hitler in her letters - obviously, this was bait. This is identical to Remilia's various anti-politically correct performances. Of course, simply summarizing it as baiting is unreasonable, just as Pauline intended to satirize Thatcher, Remilia also aims to mock Dark Perpetual/Deleuze and Praxis's bottom-feeder big tent cultural fascism, which constitutes the mainstream ideology in the contemporary art world. It should be emphasized that this is just a one-sided retrospective summary. For Remilia, intention or aggressive tendencies are irrelevant; the network and its will (network spirituality) dissolve all seriousness of artistic activism. Unlike the current cultural environment, Pauline wasn't canceled by sensitive colleagues like Remilia was, but instead received defense from many people at the time. 6. 蕾米莉亚延续了上世纪先锋派们挑起的文化战争，并在网络中将其激化为迷因战。其创造性的一点是，蕾米莉亚的架构彻底抹去了先锋派中的个人英雄主义倾向。即便作为其中的灵魂人物，夏洛特·方的卡利斯玛人格也仅仅是网络上的千万只米莱迪之一。网路灵性是对维也纳艺术史学派艺术意志论的兰德化（外部化）改造，它与"后作者身份"相辅相成。网络灵性扭转了李格尔自下而上的意志建构论，并谨慎地阐明了艺术行动实体的审美冲动缔合物的实际来源。这并非是倒回戈特弗里德·森佩尔的物质论，而是将非物质形式的外部驱力引入其中。来自外部的形式化系统露出其獠牙并取得了最终胜利，它的战果便是迷因。 6. Remilia continues the cultural war initiated by last century's avant-garde, intensifying it into meme warfare on the internet. Creatively, Remilia's structure completely erases the individual heroism tendency in the avant-garde. Even as a core figure, Charlotte Fang's charismatic personality is just one of millions of Miladys on the internet. Network spirituality is a Landian (externalized) modification of the Vienna School of Art History's theory of artistic will, complementing the "post-authorship." Network spirituality reverses Alois Riegl's bottom-up will construction theory and carefully articulates the actual source of aesthetic impulse aggregates of artistic action entities. This isn't a return to Gottfried Semper's material thoery, but rather introduces non-material external driving forces. The external formalization system bares its fangs and achieves final victory, with memes as its spoils. 7. 迷因就是形式，对蕾米莉亚迷因战的一切分析都将是逆-沃尔夫林式的形式-风格分析。蕾米莉亚的另一伟大创造便是拓展了迷因的边界，使其从静止的表现形式转化为某种运动的表现形式，并将其平滑的表面切开，使其得以被盗传至当代文化生产系统之中。形式本身可能运动吗？对于19世纪的美术史学而言，这似乎有违常理，但实际上只是一种视角问题。一方面，蕾米莉亚将艺术行动主义本身化为迷因，发帖就是迷因，而迷因将在其连绵不绝的水贴中飞速突变，这为形式-迷因的运动化提供了潜在的动力。另一方面，网络灵性及其代理人——后作者身份艺术行动实体保证了迷因的连续性。 7. Memes are form, and all analysis of Remilia's meme warfare will be reverse-Heinrich Wölfflin formal-style analysis. Another great creation of Remilia is expanding meme boundaries, transforming them from static expressive forms to dynamic expressive forms, and cutting open their smooth surface to allow piracy into contemporary cultural production systems. Can form itself move? For 19th-century art history, this seems counterintuitive, but it's actually just a perspective issue. On one hand, Remilia turns artistic activism itself into memes - posting is memeing, and memes will rapidly mutate in their continuous stream of posts, providing potential momentum for meme form (形式-迷因) mobilization. On the other hand, network spirituality and its agent - post-authorship artistic action entities ensure meme continuity. 8. 作为一个局外人，在蕾米莉亚的形式-迷因面前，观众们（如果他们真的可能存在的话）将不可避免地被外部的形式化机制引入其中，因为这种形式化机制涉及到对其媒介基础的攻击，这是有史以来最为有力的文化干扰。蕾米莉亚把握住了被极端缩减后形式的潜在动力学机制，因而初步触及了形式-迷因内在的不可能性。同时，在既有的框架中，作为人类活动产物的迷因是表征性的。但在蕾米莉亚这里，迷因并非对某一人类文化群体集体意志的表征，而是对外部意志活动的表征。我在另一篇可能会在未来发表的文章里具体谈到了这一点。总结而言，在此意义上，迷因即是创伤的表征，而这场暴力的创伤运动将永无宁日。 8. As outsiders, before Remilia's meme forms, audiences (if they can truly exist) will inevitably be drawn in by external formalization mechanisms, because these mechanisms involve attacks on their media foundations - this is the most powerful cultural interference in history. Remilia grasps the potential dynamic mechanism of extremely reduced forms, thus initially touching the inherent impossibility of meme forms. Meanwhile, within existing frameworks, memes as human activity products are representational. But with Remilia, memes don't represent the collective will of any human cultural group, but rather represent external will activities. I discussed this specifically in another article that might be published in the future. In summary, in this sense, memes are representations of trauma, and this violent traumatic movement will never end. 9. 蕾米莉亚与其前身之间的关系是不可忽略的。kali/acc（Kali Yuga Accelerationism）是混杂了诸多地摊阴谋论的煽动性文化剽窃实体。miya是前大语言模型时代的人力大语言模型。作为一座有阀的火山口，miya为群聊里的各种言论提供了一个选择性的发泄口。而蕾米莉亚发帖与刚刚发布的Cult即时聊天版是对Hot Pot内部的暴行展览。在社交媒体上发帖的架构取消了网络精英主义群聊的私密性，并极大地提高了其生产力。在这一点上，米莱迪是miya的2.0版本、家用化便携版。 9. The relationship between Remilia and its predecessors cannot be ignored. kali/acc (Kali Yuga Accelerationism) is a provocative cultural plagiarism entity mixed with various street-level conspiracy theories. miya was a human-powered large language model in the pre-LLM era. As a gated volcanic vent, miya provided a selective outlet for various statements in group chats. Remilia's posts and the newly released Cult instant messaging version are exhibitions of the violence within Hot Pot. The structure of posting on social media cancels the privacy of elite internet group chats while greatly increasing their productivity. In this regard, Milady is miya 2.0 - the home-use portable version. 10. 尽管蕾米莉亚切割了具体的先锋派实体组织，但其先锋派立场依旧坚挺。新主义毁于艺术投机客之间的尔虞我诈的名利场，蕾米莉亚谨慎地规避着这一点，至少现在如此。蕾米莉亚先是切割了可怜的MFA们，而后便切割了各种币圈投机客。如果你没有通过智力测试，那么网络灵性便不再会眷顾于你。这种操作有效地维持了蕾米莉亚内部稳定的精神内核。蕾米莉亚是艺术自律的最后堡垒。RWO1000年。 10. Although Remilia has cut ties with specific avant-garde organizational entities, its avant-garde stance remains firm. Neoism was destroyed by the scheming between art speculators in their arena of fame and fortune; Remilia carefully avoids this point, at least for now. Remilia first cut ties with the pitiful MFA (Master of Fine Arts) holders, and then with various crypto speculators. If you haven't passed the intelligence test, network spirituality will no longer favor you. This operation effectively maintains Remilia's stable spiritual core. Remilia is the last bastion of artistic autonomy. RWO 1000 years. --- Additional comment by the author (December 27, 2024, 11:36:00): 当代艺术的美德是极端的可理解性，其创作的方式只是签名，是对既有制造业商品的再封装——无论这件工业品有无实体（它可以被呈现为一种风格化的知识）出厂内置的极美绝非源自艺术家本身的大师技艺。观众们乐此不疲地追问你想表达什么，阅读理解上瘾为这些人提供了一种由控制论文化异化后的优美感。对比此前张*对小红书照片的"媒介转译"，以及蕾米莉亚的小红书贴，你会清楚地认识到这一点。 The virtue of contemporary art is its extreme comprehensibility, and its mode of creation is merely signing—a repackaging of existing manufactured goods —regardless of whether this industrial product has physical form (it can be presented as a stylized knowledge). The extreme beauty built into these products at the factory is not from the master craftsmanship of the artist themselves. Audiences tirelessly ask what you want to express; reading comprehension addiction provides these people with a kind of beautiful sensation after cybernetic cultural alienation. Comparing Zhang's "media translation" of Xiaohongshu photos with Remilia's Xiaohongshu posts, you will clearly recognize this point.

Discord 'sleep calls', VRChat 'sleep worlds': Alvin Lucier style spaces where we experience the staticky resonance of digital space itself. If we open our eyes here, nobody can stop us, because nominally 'sleeping' digital physiognomy as mask guards our 'awakened' selves.

My headcanon is all those 'KPop Reality Shifting' communities around 2021 that came out of TikTok fandoms discovering Gateway Process CIA papers and using it as dissasociation from the ruthlessness of that time actually shifted reality and manifested the entire BRG aesthetic.

Telegram and Tiktok have a relationship analagous to a spacefaring alien species observing a womb planet. Voyeurs allow the evolution, the dance (literally), to unfold itself without interference, building convoluted metaphysical theories through pure observation.

i live in a house of glass with a myriad interior details and objects. i can routinely stop and pick up anything i want to use, yet there's something like expectation in the most basic sense for that redacted word

it's the best metaphor because it figures character across all contexts as a refraction of authenticity, clarification through ambiguity. with this i revert to the glibness

texts for this are designed to become crystalline, potential metaphors nothing more than a murmuration of birds in flight. the actual light from their plumage refracting at the range and size allowed the field.

actually, yeah, i'm a fan of the myth of micro-rationality

in the majority of cases fantasies are recycling life play, rather than self-reflection and desiccation, in which case the drop is a string of tears. none of us has a memory of the present and still turns to the future