The civil are the weight, the joke that captivates arts, they fuckup any philosophy, they consider status rather then actual wealth to be primordial, they are the dialectics the philosopher and the artist always has to steer into another course. And then it will even denounce them while they do that.
As far as walking through society, it is a DEAD weight, as far as it pays and builds it with its weight, it is the reason for the slow and unjust proceeds with which the large boulder rolls on.
Should we justify ourselves or be finally just?
Not in the least. To them maybe. But there isn’t reason to morals, juxtaposed to the nobility of – and nobility of the compassion for – death and suffering.
Right now, and we see the devastation, this dialectical spirit, is only science, and as that which was once at the core of science is a part of vision, that what became civil, vision itself is the only dialectical solution to what becomes civil, and science will be no more.
There is no justice, and he who in reason would find it would see it corrupted by the same dialectics of a dead weight, but a generosity that is only part of a few, and in only so much of their deeds, that isn’t even a demand for us to state this or a demand to those who give humanity any new direction.
If we do direct it, let us consider it would be corrupt and without morals.
Merely formal, and inherently erotic and beautiful. Of that we can be sure, as no one today knows what that is, beauty, and alas, we can also be guaranteed it does no longer exist.
So as far as it’s a mist of which is slipping through our fingers, we can also consider that if we knew what it was, we would bring it back from its elusive carcass in which it still exists, as a depression, a downturn, the symptoms of a degenerate world, cries to the heavens of despair, and it wouldn’t be at all, mist, and this fog humanity is wondered into, of which is the carton board excreted of its lack of care.
Then a scientist will say, one out of ten superstitions and to see things somewhere, saved them, nine times nothing happened.
On the contrary, it is part of that need for a symmetry. A meaning we can give, that it was also given to us, as we started looking, we felt the need for something to look back.
And that experiment, this amorous need can not, and has never been sacrificed, nor could it be sacrificed by science, as it looks only in one direction, where it is not, not then to the nine parts out of ten in reality where it does not exist, where we contrary people would consider still we rather be in a world of deluding ourselves, but to the abundance of imagination that it oversimplifies with an entertaining notion, rather but a serenity and a warmth of, indeed, generous, forthcoming and deep “syllogistical” imagination, of which could be some kind of allegory.
It is only indicative of how simple the allegories were that enchained the Christians, such as this “epic” moment he would fall under his cross, not once not two times, etc.
And then we are concerned we have to keep it simple again for this lot that resides in the main alley of the church, and of which have now taken all the media, business and the political sphere by storm.
We could say this subjectivity, has opened the flood gates.
If pop music will say, in this modern satanic stance, withered itself satanism in this individualism, that you if “do what you want” some will likely find themselves wanting to become politicians or businesspersons, but eventually nobody will really know what they are doing.
Because we have forgotten the most we preach to is dead weight, the subjectivity and its 200 year development then is the WORST course to take. And we see that in the emptiness (the carton board and plastered up imagination) of doing what one wants.
What this would then do is eradicate the modern subjectivity, nihilism and science and open discussion and not in the least the arts to an actual debate, we have only proven a point if we consider subjectivity builds the structure and is detrimental as it is today for esthetic standards.
Those subjective standards can be can be DEBATED, but not in the least we can say it is SUBJECTIVE, because then nothing is debated and everything will be the same as it is now – and it is now considerably superficial.
Here we build the groundwork on what is conceptual, we will again try to have words attached to form (as in the modern debate they detached, in which they all became obsolete and driving us stark raving mad) and we have to consider in that, again as core to the system here, there is the conceptual, industrial, barren skeleton, there is the kitsch which is part of nature and myth. And the numerous interrelated qualities like false ceilings, plaster, mockups, preliminary, rudimentary, etc.
If you reject this text being useful where it makes architecture, sculpture, the formal as the course to take, in a world where this lack of solid equipment to describe a physics and metaphysics leads to this age of frustration, (of tedious rabid anger of just ranting ones individual emotions being wronged always) and irony (which is a word to describe a despair of all things ridiculous and overtly detrimental to sensibility, black humor in reverse you could say. Ahhhh, it is JUST this value, so it is NOT this value, parallel with something like, frivolous humor or, putting a bucket on the head of a human in a diaper and a mob in their hand, or indicative also to modern comics as far as they relate to mythology and religion).
Something, this irony, which is essentially the last argument and the ultimate argument for the complete decay, and very dear to society and science at large.
—aeylyeaelle ellhe de ellendeh
Flommist Aeylyeaelle Ellhe De Ellendeh is a neoromantic and neosymbolist artist and philosopher, studied sculpting at The Royal Academy of Decorative Arts of Antwerp Belgium, He decried actually having fallen in love standing before the Psyche of Leighton in London, having cried over the Sleeping Beauty by Sussmann hellborn and having spiritual religious affections for the Sphinc Mysterieux by Charles van der Stappen. Decorative sculptor and Author of a neosymbolist mythology on Kantian perception, on the imagination, inspiration, art, decadence, esthetics and passion, hate, misanthropy mainly. Heavily influenced by Huysmans A rebours and Schopenhauers refuge in art as Sades will to free erotics. He invented the Eiffel tower several times the size of the current one in paris to launch trains into space in an art nouveau way. He invented candles on remote control. He invented a game of chess with over 200 pieces per player and in an entirely classical and descent setup. With a line of Bishops, an Army, angels, boulders, with towers that need to be defended forward to launch the boulders, with a court, and a higher court with Elvin, Elvin King, Emperor, Empress and vampire of melancholy and a vampire legion. He is a self declared madman and officially declared insane by the state of Belgium deu to his romantic uprisals. Designer and architect of the future city of Anaehtheana, which is best described as the most beautiful and luxurious place ever devised, with the concrete bridges done again in marble, a wild zoo where the highway is now. And a fortified vatican inspired wall for a legion of Joans of Arc he is trying to call. Among that, he is calling upon all archetypes currently in cosplay gothic and music to build, among other things, a Vampire Lane with gothic schools, gothic museums and gothic lounges and palaces. And an Angh angel fortress. It is his one and only and final mission to replace all commercial billboards with romantic and academic paintings. Etc … Copyright © 2021 Aeylyeaelle Ellhe De Ellendeh.
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