sadmanbarty
Well-known member
Hello new posters and welcome to the forum.
A small contingent of us have developed an ever expanding aesthetic framework which we on occasion make reference to. Of course the vast majority of users have no interest in it whatsoever, so it is by no means necessary to understand it to enjoy the forum. However if it does interest you, the following is an overview of what we’ve got so far. We look forward to your contributions to it in the future.
The framework is based on a series of loose, interconnected polarities. Everything to the left of the hyphens here is in one broad group and everything to the right of the hyphens is in another.
Womb-Orgasm
Pantheism-Iconisation aka Anti-humanism
Feminine-Masculine
Womb/Orgasm
There are two archetypal psychadelias. The womb and orgasm; cognitive obliteration through tranquility and through over-stimulation respectively.
Pantheism/Iconisation
Iconisation is the worldview presented in Witgenstein’s ‘Tractatus Logicus Philosophicus’ experienced phenomenologically.
It is about hyper-atomisation. The world reduced to single units. Mechanisation.
Musically it expressed best via individual staccato stabs interjecting with one another like the teeth on cogs:
It is a means by which to achieve the “over-stimulation” of Orgasm.
We haven’t mapped out much of the Pantheism yet, other than to note that the Womb is pantheistic.
Feminine/Masculine
We wholly appreciate that these terms are problematic and understand that gender is a harmful, arbitrary social construct. We are not using them to signify men and women or xx and xy chromosomes or people with penises and vaginas.
We use the terms as two shorthand’s for wider aesthetic parameters.
They can be seen as expressions of the sympathetic and parasympathetic nervous systems. In other words they reflect our cognitive processes during ‘fight or flight’ scenarios or when we’re resting.
During the former we register velocity, movement and information, but are unable to register feelings (if you’re punched during a fight, you only actually feel the pain afterwards). Whereas during the latter you are able to experience touch, taste, breath, emotion, etc.
This idea of information-centric Masculinity corresponds to Iconisation and Orgasm. Feminine corresponds to Womb and Pantheism.
We also have some other bits and pieces:
Shockwave Theory
This is a way at looking at cultural influence. A cultural event is the impact point and we see its potency diminish the further away from that impact we get.
For example 1988 was the impact year for dance music in the UK. It resonated throughout the 90’s, but by 2003 it’s presence, by way of grime, was diminishing. By the time we reach UK drill 15 years after that, it’s presences is very faint.
There’s an atemporal-adjusted version of this in which the impact point is decided not chronologically, but by when a cultural event was at its most potent. In the case of UK dance music, that’d be the latter half on 1993, with influence running both forwards and backwards in time.
Dematerialisation
This is the phenomenology of the internet age. The lack of anything tangible. The smoothness of touch screens. The blue hew of computer light. Constant information and stimulation.
Bladerunner
This refers to the aesthetic preoccupations of some styles of music, most notable mid-90’s Metalheadz.
Psychedelic materialism
Rappers talking about cars and jewellery with such poetic coyness as to render them quasi-spiritual.
"Pull up in a demon on God"
"Raindrops like a storm on me"
etc.
The Time Barrier
the time barrier is the invisble wall you hit when tracing music back through time. the historical point at which any pleasure becomes detached and scholarly, or patronising, or simply impossible to access
A small contingent of us have developed an ever expanding aesthetic framework which we on occasion make reference to. Of course the vast majority of users have no interest in it whatsoever, so it is by no means necessary to understand it to enjoy the forum. However if it does interest you, the following is an overview of what we’ve got so far. We look forward to your contributions to it in the future.
The framework is based on a series of loose, interconnected polarities. Everything to the left of the hyphens here is in one broad group and everything to the right of the hyphens is in another.
Womb-Orgasm
Pantheism-Iconisation aka Anti-humanism
Feminine-Masculine
Womb/Orgasm
There are two archetypal psychadelias. The womb and orgasm; cognitive obliteration through tranquility and through over-stimulation respectively.
Pantheism/Iconisation
Iconisation is the worldview presented in Witgenstein’s ‘Tractatus Logicus Philosophicus’ experienced phenomenologically.
It is about hyper-atomisation. The world reduced to single units. Mechanisation.
Musically it expressed best via individual staccato stabs interjecting with one another like the teeth on cogs:
It is a means by which to achieve the “over-stimulation” of Orgasm.
We haven’t mapped out much of the Pantheism yet, other than to note that the Womb is pantheistic.
Feminine/Masculine
We wholly appreciate that these terms are problematic and understand that gender is a harmful, arbitrary social construct. We are not using them to signify men and women or xx and xy chromosomes or people with penises and vaginas.
We use the terms as two shorthand’s for wider aesthetic parameters.
They can be seen as expressions of the sympathetic and parasympathetic nervous systems. In other words they reflect our cognitive processes during ‘fight or flight’ scenarios or when we’re resting.
During the former we register velocity, movement and information, but are unable to register feelings (if you’re punched during a fight, you only actually feel the pain afterwards). Whereas during the latter you are able to experience touch, taste, breath, emotion, etc.
This idea of information-centric Masculinity corresponds to Iconisation and Orgasm. Feminine corresponds to Womb and Pantheism.
We also have some other bits and pieces:
Shockwave Theory
This is a way at looking at cultural influence. A cultural event is the impact point and we see its potency diminish the further away from that impact we get.
For example 1988 was the impact year for dance music in the UK. It resonated throughout the 90’s, but by 2003 it’s presence, by way of grime, was diminishing. By the time we reach UK drill 15 years after that, it’s presences is very faint.
There’s an atemporal-adjusted version of this in which the impact point is decided not chronologically, but by when a cultural event was at its most potent. In the case of UK dance music, that’d be the latter half on 1993, with influence running both forwards and backwards in time.
Dematerialisation
This is the phenomenology of the internet age. The lack of anything tangible. The smoothness of touch screens. The blue hew of computer light. Constant information and stimulation.
Bladerunner
This refers to the aesthetic preoccupations of some styles of music, most notable mid-90’s Metalheadz.
Psychedelic materialism
Rappers talking about cars and jewellery with such poetic coyness as to render them quasi-spiritual.
"Pull up in a demon on God"
"Raindrops like a storm on me"
etc.
The Time Barrier
the time barrier is the invisble wall you hit when tracing music back through time. the historical point at which any pleasure becomes detached and scholarly, or patronising, or simply impossible to access
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