modern and the age of nuanciation

We can try to cap­ti­vate what is through mod­ern me­dia an in­fi­nite and chaot­ic land­scape, we can try cap­ti­vate what is through lay­ers of fame and lim­i­ta­tions of that me­dia clogged which leads to an abyss of a jum­ble of words and a jum­ble of opin­ions, and the lack of what would be a fas­cist or at least an­cient kind of pro­pa­gan­da, to fo­cus on some key points, scale up the sym­pho­ny to blur out the nu­ances that would lead to the mass­es run­ning amok and run­ning in cir­cles with an un­po­lar­ized dog­ma lead­ing to var­i­ous small­er ever small­er grow­ing cir­cles …

and peo­ple would be LOST?!

I think, af­ter time passed, it is safe to say ro­man­tics died with its af­ter­math, art nou­veau and its death in art deco along with the sui­cide of Hitler.

Pointil­lism and im­pres­sion­ism weren’t mod­ernist to be­gin with. They were a pas­sage from ro­man­tic and aca­d­e­m­ic, into the solip­sist ex­pres­sion­ism and min­i­mal­ism of mod­ern. And its geno­cide on every­thing clas­si­cal as if an atom bomb was used, not in the least un­wit­ting­ly helped along by avant garde hu­mour.

While poor Jean Delville had to live up un­til the fifties to see most of the clas­si­cal, if not de­stroyed, then mocked, grad­u­al­ly, even if he didn’t see the worst stages of that. At least the sur­re­al­ists val­ued the clas­sics again af­ter the im­passe of ear­ly avant garde in to­tal re­jec­tion.

Fur­ther nu­an­ci­a­tion was lost by the time Black Met­al pro­ject­ed its ul­ti­mate provo­ca­tion against the loss of any sen­si­bil­i­ty in the eight­ies. The sen­ti­men­tal synth songs re­placed by a cold blood­ed ni­hilism and amorph pro­duc­tion as heard to­day on all chan­nels.

Mod­ern then ba­si­cal­ly built the ma­trix of which we now see the con­clu­sion. With movies like The Nev­erend­ing Sto­ry (1984), In The Mouth Of Mad­ness (1995), Dark City (1998), The Ma­trix (1999), Wings Of Fame (1990), all now a delu­sion the­o­rem pro­ject­ed on the amorph mass­es in their cages, the ques­tion of what re­al­i­ty and cul­ture is fre­quent­ly aris­es.

To be trapped in a prison or to be barred of by the lim­i­ta­tions of the mass­es to un­der­stand mad­ness or bril­liance, or pro­ject­ing fur­ther, is deemed for­ev­er im­pos­si­ble by the sub­strates of thought ‘all is sub­jec­tive” and ‘all is rel­a­tive” or ‘all is an opin­ion’ what­ev­er splen­dour it may lead to to think oth­er­wise.

What we need to work on is project and craft each oth­ers dif­fer­ent opin­ions rather then delv­ing into the ab­so­lutist dross of phi­los­o­phy it­self. In the per­cep­tu­al, the per­son­al is truth!!

And apart from this, fore­most chal­lenge, to de­feat the av­er­age main­stream that has not or sees no his­to­ry, and has no or sees no fu­ture. We need the cos­play and the goths to be­come the new world fash­ion or­der, and for these mar­velous worlds we need to have both es­thet­ic ar­chi­tec­ture and per­haps some iron­ic or wit­ty ar­chi­tec­ture projects, BOTH aca­d­e­m­ic ac­cord­ing to ever­last­ing sen­ti­men­tal as se­ri­ous ar­che­types, as well as new com­ic and new icon­ic art.

But main­ly in­tel­li­gentsia to­day, no longer as Marx said, should not think of the world, but change the world, a good and bet­ter method then this po­lar­iza­tion in left and right would be, not to change the world, but art it­self, to tell peo­ple where to build the walls. To tell peo­ple not to mock splen­dour in art ar­chi­tec­ture or cloth­ing. To build movie cathe­drals – per­haps lead­ing the way to more al­le­go­ry in fic­tion – which would make the en­ter­tain­ment in fic­tion more clas­si­cal and hope­ful in­stead of ni­hilist?!

The all is rel­a­tive and I’m not a star and I’m go­ing to dress in shirt and jog­ging pants, to, all is rel­a­tive and i am a par­a­site that will glow like a star. Not only in cloth­ing but in thoughts. So of­ten the rel­a­tive ab­sorbs the light. Pro­ject­ed the small upon the in­trin­sic fe­male el­e­gance of the hu­man body in gen­er­al, hair­less for sure … Or mak­ing the aca­d­e­m­ic and our fe­male el­e­gance, in mind or in­ge­nu­ity small­er op­posed to the stars.

The phys­i­o­log­i­cal essence, what is seen, rather then what is pro­ject­ed, al­ways has less to say then the pro­jec­tions from above or from with­in, bac­te­ria or stars alike. But it is what we see that is art of which Jean Delville said “Shines from the spir­i­tu­al plane” into art where it “con­dens­es into mat­ter.”

And that, as well, goes for the CON­TENT, of the es­thet­ics, where Blake once found that “One could nev­er aqcuire more” “There­fore a uni­ver­sal spir­i­tu­al ge­nius ex­ists.”

Mod­ernists lost so much in the lack of nu­an­ci­a­tion of these in the un­der­ground of ear­ly as late ro­man­tics. And more than in­di­vid­u­al­ism, it bound in­di­vid­u­al­ism in threads to sup­port or af­fil­i­ate in some way with er­gonom­ics, junk, rub­bish, com­mer­cial ni­hilism and con­sumer ap­a­thy.
 
 

—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 © 2018 Aey­lyeaelle Ell­he De El­len­deh.‬

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