the simplified, empty cage of modernism

Vul­gar­i­ty, filth, disease —
with which this so­ci­ety flirts —
its lan­guage, op­posed to that tears of sin­cer­i­ty are the di­vine wings or heav­en around which the pe­jo­ra­tives are fought and the me­lio­ra­tives hold ar­ti­san clas­sic beau­ty, mere clean­li­ness is no sanc­ti­tude against a sew­er – its a bot­tle neck of a vase with­out a flower in it. 

Clear­er perhaps,
that the ex­clu­sion of all the forms of cre­ativ­i­ty or more ac­cu­rate­ly sys­tems of meta­physics be they de­formed (by means of emp­ty sub­ject to struc­ture con­sid­er­a­tions to sur­round them) or serene in com­po­sure, leaves us to end in mod­ernism self ev­i­dent­ly, and then the meek will por­tray as if we didn’t know that – as if we weren’t still fight­ing un­der­neath – as much as the meek will an­a­lyze and bring noth­ing of a re­volt to the ta­ble, leav­ing also their ide­al­ism – their end re­sult – into the tame sta­tus quo.

Yes, to some ex­tent it is the IQ and oth­er High IN­tel­li­gence move­ments, who need all kinds of ex­ams and coach­es, but who in fact could not speak or un­der­stand an orig­i­nal metaphor from any time if their lives de­pend­ed on it. 

It is proof in each of civ­il ar­gu­ments to­day who leave noth­ing, ut­ter­ing to the artists they are there to get them off of their clouds, and send­ing them to Do It Your­self stores to work at the cash register. 

It is in this way we are left with noth­ing to avail of their com­mon world, but to paint a can­vas and be for­ev­er won­der­ing in it, as they have left us nothing. 

It is through art, the great re­build­ing of beau­ty – for in­stance, paint­ing a girl in clas­si­cal gar­ments do­ing laun­dry in a small river. 

And so on. 

These sig­nif­i­cances deny the com­mon empti­ness and re­form the rit­u­al of life which the sym­bol­ists al­ready pro­claimed be­fore us. And in which haunt­ings night­mares and dreams we chose to attach.

The course of ci­vil­i­ty then must go from fight­ing each oth­er for ideals, then when that dwin­dles, they set up all kinds of rules for everyone.

Then they start to in­fight again, and fi­nal­ly when they have ac­quired all lux­u­ry in their progress ini­tia­tives, they will see to bite their own limbs off.

The pur­pose to which the de­tach­ment led us, of min­i­mal­ism and con­cep­tu­al­ism, now re­versed, the dein­di­vid­u­a­tion of ba­nanas on walls or in­vis­i­ble art­works proven by a pur­chased bill of de­c­la­ra­tion of existence.

This is what is known as re­al­i­ty, its de­fend­ed each day by 7 bil­lion peo­ple with all kinds of tech­niques. This is an in­su­la­tion against them.

The ob­jec­tive “un­wit­ting­ly” scep­tic at­tain­ment is the twi­light of cre­ative recog­ni­tion, and breeds empti­ness, min­i­mal­ism, solip­sism, prag­ma­tism and realism.

When the vi­bra­tion and the tremors back and forth in aes­thet­ic dis­course are dis­man­tled stale con­cerns of every­one about noth­ing. This will pose a sole artist their doom and gloom in a prison every­where they walk.

A so­ci­ety fright­ened by the grim reaper of ar­gu­men­ta­tion – every­where be­hold­ing in an­guish be­cause every­one might think some­thing dif­fer­ent – this makes the thinker and the in­di­vid­ual into a cadaver.

The ca­dav­ers in so­ci­ety cre­ate ar­chi­tec­ture, sculp­ture and art, paint walls and are in charge of ur­ban de­sign, and what then? They are crowned by politi­cians who meal noth­ing but sag­gy ver­dicts of noth­ing or even less importance.

This is modernism —
Then,
postmodernism,
post-postmodernism,
metamodernism,
vul­gar­i­ty, filth, disease.

They pre­tend we don’t know this, then they pre­tend – like phi­los­o­phy – they don’t need to bat­tle it out be­fore be­ing thrown in an emp­ty cage.

 

—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 © 2026 Aey­lyeaelle Ell­he De Ellendeh.‬

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