#antitraditional

[raisongardee]

"Si les modernes ont pris conscience aujourd’hui seulement d’un sombre destin pour l’Occident, depuis des siècles des causes ont agi, qui ont établi en profondeur des conditions spirituelles et matérielles de dégénérescence, au point d’enlever à la plupart des hommes la possibilité, non seulement de la révolte et du retour à la normalité, mais aussi, et surtout, la possibilité de comprendre ce que normalité et santé signifient."

Julius Evola, Révolte contre le monde moderne, trad. Philippe Baillet, 1934.

[ravenkings]

What we seem to be discussing here is the frivolousness of the “avant-garde,” which everybody thinks they are somehow associated with. We think that we are progressive and transformed people. We have a different perspective on society, which they have fucked up for us. We are resentful about that and that makes us avant-garde. We are the messengers of a new age, the Aquarian age, or whatever you call it. It is antitradition, anti-establishment, obviously. In fact, we could say it is anti-earth, because the earth has had to be cultivated and cities have had to be built, so now we are resentful about the earth. 

I’m not particularly condemning being resentful of pollution. There is nothing cynical about that. That problem arises to begin with because we regard the whole world just as a gigantic world of opportunity for us in which we can build up our own kind of cynicism and unfriendliness. We can make the whole world into a gigantic satire. But by taking that satirical approach, we are pulling the rug out from under our own feet. The detrimental result of such an approach is that people end up by killing themselves, or for that matter, laughing their heads off. Those two extremes do arise.

–Chögyam Trungpa, Orderly Chaos: The Mandala Principle

[lapleiade]

In the Hindu tradition, it is said that the Devas in their stuggle against the Asuras protected themselves by recitting Vedic hymns which, for this reason, were given the name of chandas, a word which denotes rhythm. [...] The repetition of these formulae is intended to bring about the harmonization of the different elements of the being and to cause vibrations which, by their repercussions throughout the whole hierarchy of the states, are capable of opening up a communication with the higher states.

This brings us back directly to what was said at the outset about "the language of the birds", which can also be called "angelic language", and which is symbolized in the human world by rythmic language, for the science of rhythm, which has many applications, is in fact ultimately the basis of all the means which can be brought into action in order to enter into communication with the higher states of being. [...] It is also why the Sacred Books are written in rhythmic language, which clearly makes them something altogether different from the mere "poems" (in the purely profane sense) which the antitraditional prejudice of the "critics" would have them to be; nor was poetry itself, in its origins, the vain literature it has now become as a result of the degeneration which is part of the downward march of the human cycle. It had on the contrary a truly sacred character. Examples can be found as far back as classical Western antiquity, of poetry being called the "language of the Gods", an expression equivalent to that we have already used since the "Gods", that is, the Devas, represent, like the angels, the higher states of being.[...] The poet himself, the interpreter of the "sacred language", which is as a transparent veil over the Divine Word, was vates, a word which implies a certain degree of the prophetic inspiration.

— René Guénon, The language of birds

[coilghost]

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[paulsakoilsky-blog]

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[le-dernier-soupir]

The Dark Age.

335. The forces of darkness can gain power in the world only because they have already gained power in the soul.

336. That which surrounds man is the reflection of his inner world.

337. With a pinch of salt one could say that everything maintained in the world at present is false or utterly valueless or explicitly represents some kind of dark counter-value.

339. What prevails at present is so bad that what is slightly better than this still cannot be considered good at all.

342. The present time as a modern time, that is, an antitraditional time in the extreme, is the time of negative dominances. And it holds true even on the level of the most base profanities: for example, a young and healthy man feels bad much more often than good, he is much rather depressive, sad and gloomy than luminous, happy and joyous.

344. Modernity is not a stiffened, static reality, but a dynamic process, which is continuously working to make itself darker and darker.

345. Descent is not merely a monotonous descent. Phases of sudden halts, sharp falls and slow descents are changing - but these take place in the process of a monotonous descent.

346. Exactly as in the demential phase of paralysis progressiva there are lucida intervalla, but they come about more and more rarely and are less and less luminous, in just the same way in the last phase of the Kali-yuga there can be lucida intervalla, but those who examine processes in their total coherence cannot be deceived by these.

347. Modernity is maximal just now.

348. Once darkening could be perceived in fifty or a hundred years. Now it is perceivable every five years.

350. An age, which gives much more chance for darkness than for light, is quite justly considered damned.

351. Nothing illustrates better the nature of an age than that which succeeds in it: the higher or the lower, the good or the bad, the angelic or the demonic. And today - looking at it from a »bookmaker’s« point of view - the victory of the worse is incomparably more probable than that of the better.

352. He whose aim is decline, failure and fall can be sure of his success.

353. All that is directed toward fall starts with infinitely great advantages.

355. At present darkness does not live in reservations, but is flourishing everywhere - whereas spirituality does not even live in reservations.

356. In the past five hundred years a new type of man has appeared, who rejoices if something or someone turns out to be valueless, base or non-existent. Since only a degenerated type is capable of rejoicing if the world gets poorer.

357. Most of the modern theories are false to such an extent that those views which are directly contradictory to them are false as well.

358. Most of the modern conceptions are false to such an extent that it is not enough to change a modern concept for one which is opposed to it by 180 degrees, but it has to be replaced with one that is opposed to it by 540 degrees.

359. Kali-yuga cannot leave any disciplines unturned: it is massively present in each. 361. Today’s man has gradually built a denatured world for himself: he has already been cut off from the supernatural, and now he is about to take leave of the natural. 369. Wherever man goes with his earthly tools, he always takes his earthly conditions within himself.

370. The degeneration of the power of money is now beyond the realm of money as a concrete means of payment.

371. There is only one more demonic form of payment than timewage and that is piecewage. While in the case of the former the mere quantity of time spent on working is taken into consideration, in the case of the latter it is the number of the producer’s products.

372. Although journalism is incapable even of creating dark counter-ideas, the satanic forces which operate behind journalism are already capable of it. 377. Despite all its losing track, deterioration and dissipation, today’s world and the tendencies operating in it show one direction: the direction of nothingness. - SOLUM IPSUM: Metaphysical aphorisms, by András László.

[world-architecture-blog02]

New York - Neo Classical and Art Deco

In a recent visit to New York I spent a large amount of time marveling the amazing architecture around me. Not only the stereotypical modern style skyscrapers, glass reflecting the winter sun, but the details on apartment buildings and fantastical colours of the various artists works and of the buildings themselves.

Two styles that prominently stood out for me were art deco and neoclassical. Encyclopedia Britannica defines “Neoclassical architecture, revival of Classical architecture during the 18th and early 19th centuries. The movement concerned itself with the logic of entire Classical volumes, unlike Classical revivalism (see Greek Revival), which tended to reuse Classical parts. Neoclassical architecture is characterized by grandeur of scale, simplicity of geometric forms, Greek—especially Doric —or Roman detail, dramatic use of columns, and a preference for blank walls. The new taste for antique simplicity represented a general reaction to the excesses of the Rococo style.” [Seen in the Met (lead architects Thomas Hastings and John Mervin Carrère) and the New York Public Library (lead architects Richard Morris Hunt and Richard Howland Hunt) among others]

“Art Deco, also called style moderne, movement in the decorative arts and architecture that originated in the 1920s and developed into a major style in western Europe and the United States during the 1930s … Art Deco design represented modernism turned into fashion. Its products included both individually crafted luxury items and mass-produced wares, but, in either case, the intention was to create a sleek and antitraditional elegance that symbolized wealth and sophistication. 

The distinguishing features of the style are simple, clean shapes, often with a “streamlined” look; ornament that is geometric or stylized from representational forms; and unusually varied, often expensive materials, which frequently include man-made substances (plastics, especially Bakelite; vita-glass; and ferroconcrete) in addition to natural ones (jade, silver, ivory, obsidian, chrome, and rock crystal).” [Seen in Chrysler Building (Architecture firm: Reinhard, Hofmeister & Walquist) Empire State Building (designed by William Lamb, an architect at the firm Shreve, Lamb & Harmon) and Rockefeller Plaza (designed by Raymond Hood)]

Through both of these styles it is evident when there was a surplus of money and therefore development in New York. Especially with the Art Deco style which flourished in the 1920s it is poignant to note that despite the Wall Street crash in 1929 and the subsequent Great Depression there was no hindrance to the development of the city because New York City was a hub of communication, trade and finance during this time.

https://www.britannica.com/art/Neoclassical-architecture

https://www.britannica.com/art/Art-Deco

[cyanidetooth]

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[theageofthemovies]

LES COUSINS - (Claude Chabrol, 1958)

The movie is an outstanding investigation (in parabolic form) about the relation of psychologic domination (a master/slave connection) between two very different cousins of whom Charles (Gérard Blain) is timid, introverted and studious while Paul (Jean-Claude Brialy) is joyful, crafty and a timewaster; “unavoidably” (better: “fatally”) their relation will end in tragedy..... 

The mise-en-scène displays some previous references (mainly Hitchcock’s “Rope”) and was referred to in other successive movies (the apartment’s episode in Fellini’s “La dolce vita”; Truffaut’s “Jules et Jim” and others) as a demonstration the movie is one of both Chabrol’s best (probably the best, imo) and among the best of the whole French New Wave movement (despite the fact “Le cousins” was someway “hidden” by the critics who blamed what they considered the semi-nazi characterization of a character).

“Les cousins” was paradoxically defined by Chabrol himself  “a cheerful melodrama” and, by the antitraditional way in which the emblematic story is filmed it can rightly be considered one of the first fully accomplished feature movie of the “nouvelle vague” (together the previous Chabrol’s “Le beau Serge”): the movie is shot almost entirely inside the rooms of a real Parisian apartment and the story is dynamically filmed by long mobile sequences in which the hand-camera follows, discovers, spies, illuminates the behaviors and the revealing faces and gazes of the characters to underline and give a real, precise, inner sense to their real thoughts and sentiments; on another side the dialogues flow free, unconventional, ruleless demonstrating how effective, in narrative terms, the theories of the new movement could be, if skillfully and masterfully applied. 

It can be useful to remember some of those “theories” that established the elimination of any sort of device that would “modify” (or “compromise”) the reality: no projectors, no complex sceneries, no expensive equipments; the scenes to be shot mainly in the daily or natural light, along the streets or into the apartments of the filmmakers themselves with few known actors (often old friends of the director), and the shooting were made by a hand camera and supported by a minimal technical staff (mainly constituted by the filmmakers’ friends). In general, another trademark of the “new wave” movement stood in the originality of the themes, particularly those inherent to the juvenile diseases, the social problems of the common people and the raise of a new type of sexual freedom.

To be honest, in the year 1962, Truffaut denied the very existence of such unifying theories by affirming the only thing that brought together the members of the nouvelle vague was “the passion for the pinball machines”, and then he adjoined:

“... one has not yet sufficiently underlined a point: the French Nouvelle Vague is neither a cinematic movement, nor a set of theories but a “quantitative concept”.... it (the n.v.) is a collective denomination “created by the press” to indicate the names of the 50 new directors who are emerged in a professional field in which, before, only three or four new names were accepted any year.” (”Cahiers du cinéma”, Dec. 1962, 138).

r.m.

R.M.

[tipsbranding]

Digital Marketing Vs Traditional Marketing

Digital Marketing Vs Traditional Marketing

The primary distinction between digital marketing antitraditional (conventional) marketing is the medium through which customers or audiences are exposed to marketing messages. Traditional marketing mainly uses print media platforms such as newspaper and magazines, and on the other side digital marketing uses digital platforms such as social media and websites.

Many people believes that traditional marketing is old fashioned but this statement is not true as, traditional market plays a vital role in people’s day-to-day lives. This kind of marketing is old but, gold at the same time.

Impactful TV as or commercial and tangible copy of magazines are important today as they were 10 years ago because of their never-ending effect on reader’s memory. You attach yourself to brand subconsciously, meaning they will always stay in your head. In the same way that conventional marketing is vital, digital marketing leverages every part of your everyday internet browsing to reach you.

If you are browsing for holiday ideas for your next weekend excursion on Google, you are likely to encounter a customised sponsored ad shortly after.Use of the internet for several hours each day is regular part of majority people’s life. Digital Marketing uses this for as their tump card in the field of marketing by smartly weaving marketing into every digital platform

[raisongardee]

“[…] le monde moderne lui-même est-il en somme autre chose que la négation pure et simple de toute vérité traditionnelle ? Mais, en même temps, cet esprit de négation est aussi, et en quelque sorte par nécessité, l’esprit de mensonge ; il revêt tous les déguisements, et souvent les plus inattendus, pour ne pas être reconnu pour ce qu’il est, pour se faire même passer pour tout le contraire, et c’est justement en cela qu’apparaît la contrefaçon ; c’est ici l’occasion de rappeler qu’on dit que "Satan est le singe de Dieu", et aussi qu’il "se transfigure en ange de lumière". Au fond, cela revient à dire qu’il imite à sa façon, en l’altérant et en le faussant de manière à le faire toujours servir à ses fins, cela même à quoi il veut s’opposer : ainsi, il fera en sorte que le désordre prenne les apparences d’un faux ordre, il dissimulera la négation de tout principe sous l’affirmation de faux principes, et ainsi de suite.”

René Guénon, Le Règne de la Quantité et les Signes des Temps, 1945.

[archatlas]

Ever think Art Deco will have a revival in the architecture world?

Chrysler Building William Van Alen

As defined in Encyclopedia Britannica, Art Deco, also called style moderne, movement in the decorative arts and architecture that originated in the 1920s and developed into a major style in western Europe and the United States during the 1930s. Its name was derived from the Exposition Internationale des Arts Décoratifs et Industriels Modernes, held in Paris in 1925, where the style was first exhibited. Art Deco design represented modernism turned into fashion. Its products included both individually crafted luxury items and mass-produced wares, but, in either case, the intention was to create a sleek and antitraditional elegance that symbolized wealth and sophistication.

Art Deco District, Miami Beach

I find it difficult to believe Art Deco could have a revival, not because it lacks design merit or beauty, but because it did not have an ideology behind it that could be rediscovered or incorporated in contemporary architecture. If anything, architecture right now tends to respond to other types of challenges like sustainability, diversity and migration. Maybe I am wrong and Art Deco will find a new audience but it would not be considered more than an affectation at best.

Guardian Building Smith, Hinchman & Grylls

[yawpinglitgcu]

Key Characteristics of Modernist Writing

MODERNISM

I. Time Frame: 

A) Approximately 1910 to beginning of World War II 

B) Late 19th century (1886) to 1965 Innovative; marked a sense of cultural crisis and radical rupture with the past Ezra Pound said: “make it new” (imagism) 

II. Key Characteristics of Modernist Writing: 

1. Movement away from realism into abstractions 

2. Deliberate complexity – to point of elitism (forced readers to be well- educated to understand) 

3. High degree of aesthetic self-consciousness 

4. Questions of what constitutes the nature of being 

5. Breaking with tradition and conventional modes of form, resulting in fragmentation and experimentation 

6. Privileging of irony Result: poetry written in Modernist mode – often impersonal, cosmopolitan, highly learned, skeptical Contained contradictory elements: Proclaimed democracy but held to certain elitist ideals; both traditional and antitraditional (searching for order through myth while at the same time using fragmentary, nontraditional forms)

III. Numerous cultural forces worked to create the modernist movement in poetry: Problems with ideals of movements that preceded modernism: Romanticism and Victorianism (R’s philosophy’s of pantheism and transcendence didn’t work for those coping with technologies of industrial modernization – didn’t express a sense of loss; V’s moral earnestness, complacency, overly squeamish stance on sexual matters)

IV. Modernity “revolts against normalizing functions of tradition; Modernity lives on the experience of rebelling against all that is normative” (Jurgen Habermas, “Modernity,” 162). WWI – questioned Western notions of superiority; questioned long-held precepts of Renaissance and Enlightenment beliefs that humans were essentially good and could perfect both themselves and their societies (collapsing), challenged value systems – those of God, country and capitalism; movement from rural areas to urban and technological change fostered cultural dislocation V. American poets associated with Modernist Movement: American expatriates: T. S. Eliot, Ezra Pound, Gertrude Stein, H. D. (Hilda Doolittle), Ernest Hemingway, Wallace Stevens, Marianne Moore, William Carlos Williams.

VI. Modernism reflects awareness of new psychological theories: 

1. Proponents: Sigmund Freud and Carl Jung Historical-cultural theories

Karl Marx Philosophical theories:

“In Marx's final phase, the victory of the working class over the Bourgeoisie would usher in a new time when all resources were owned by the state, or the people as a collective, rather than by a single ruling class given some abstract social entitlement to the majority of the wealth. As such, wealth would then be evenly distributed, limiting the workload on any one demographic, thus allowing all to pursue those things which enriched or edified them. For Marx, those pursuits would naturally be intellectual ones, given such pursuits were long denied working class people on account of their menial labor in the factories, mills, rail-yards, etc.” (Marx Refrence)

Fredric Nietzsche:

Evolutionary theories: Charles Darwin Theories undermined long-held assumptions about language, culture, religion and reality 

2. “Modernist self”: prevalent among literary artists of the movement – selfconscious, nihilistic, fragmented, cynical, alienated, detached, creator as opposed to preserver of culture, innovative.

 VII. Manifestations of modernists being highly conscious that they were being modern:

1. Radical use of a kind of formlessness

2. Utilized collapsed plots, fragmentary techniques, and steam of consciousness point of view 

3. Used associative techniques – random impressions and allusions and readers are expected to make connections on their own

 4. Concerned with inner being more than social being 

5. Looked inside themselves for their answers rather instead of seeking truth through religion or scientific presuppositions that realism and naturalism rested upon 

VIII. Summation:

1. Modernists sought to break with the past 

2. Movement was resistive, a reply to a world considered to be a spiritual and moral wasteland 

3. Rebellion did not extend to outright rejection of all belief systems

4. Meaning may or may not exist in the natural world, but modernists saw themselves as making meaning out of their art

[coilghost]

Available designs / motifs dispos. 🥸 ⁣ .⁣ .⁣ .⁣ .⁣ .⁣ #occultarcana #artesobscurae #btattooing #flashworkers #blackwork #blackworkers #blxckink #darkartists #darkart #darkarts #thedarkestwork #onlyblackart #onlythedarkest #blacktattoo #swisstattooers #noirtattoo #occult #wiccac #witchythings #tttism #tradtattoo #antitraditional (at Noir Tattoo) https://www.instagram.com/p/CIXyINuDg_A/?igshid=1drxx4dfesw0i

[roosknap]

Guillaume Apollinaire, Calligrammes (1880-1918)

Brilliant Movie Manifesto (2015) today with parts of ‘The Futurist Antitradition (1913)’ from Apollinaire

[rozettarantz-blog]

My job when the clock strikes 5pm. Lol. #LIT #HappyHour #TurnUpOnAThursday #NoRules #AntiTradition #SharedWorkSpace #NewYorkCity (at Greenwich Village)