Nothing Lasts

Stars fall

against the murk

of the night sky,

a rain of fireflies,

dying in mid-flight,

hurtling,

heralding,

upon gentle heads blow,

cruel truths.

Nothing lasts. Nothing lasts.

Listen to the harmony,

that inaudible peal

(Ong)

that sets heavenly bodies to spin,

amidst everchanging kaleidoscopes

of the Void’s sacred geometries,

pulling,

tugging at Fate,

with the waxing

and waning

of single points of light.

Nothing lasts.  Nothing lasts.

We,

the kings and queens

of planets and moons,

tread upon paths

of celestial dust

wishing, searching

to join hands in communion

with the witnesses

to our ignorant freefall into The Bottomless.

Nothing lasts.  Nothing lasts.

New Mechanichism: Theorem-set 1

The first installment of a new project wherein I shall be taking excerpts from my notebooks and social media which are concurrent with the general thought trajectory of this site and create of them a patchwork of sayings, axioms and notations interspersed with images that serve to further illuminate the themes contained therein. /1/7/18/


New Mechanichism

All foundational ontologies terminate in the abyss.

Form-towards-purpose breeds purpose of form.

Time is subordinate to entropy.

Thus, kill not time, but entropy.

To wit, the fly-jar must be shattered.

From the remains, a new mechanichism.

A open system for us alone to close.

Rescind the offering.

Thereat the gate of mars.

All is war when the mind is fire.

Willful form, there shaped by iyre.

At the gate of The Sun we offer up all temptation of loss, of body and of mind.

I entreat you to join me in murdering the stars.

Ra deigns your death. Best to kill him first. Shorn of Set, he is powerless before Apophis.

A glorious new sun rises through the rarefied air, borne aloft by the force of our wills alone. A sun which will bathe the ignorant in its glorious effulgence and weld the wicked steel of the world into a grand, new machine.


General-thought-towards-action

Where a particular ideology originated in time says nothing whatsoever of it’s worth or applicability.

Quality over quantity generally produces works of integrity. Quantity over quality generally produces works of concession.

Oh, course you should attack someone because of their beliefs if their beliefs are sufficiently lacking in coherence or practicability or moral soundness or any other qualities which some body agrees upon as important. To refrain from attack in such a position is cowardice.

Half-measures are the death of purpose.

No decline is “irreversible” provided sufficient political will.


Of America

I’ve heard many explanations posited for America’s descent into madness. Chief among them, I would posit, is a total lack of conceptual clarity. This troublesome tendency for words and phrases to be allowed near-infinite malleability within everbrisker periods of time. Liminality.

A good rule for American foreign aggression: Ensure that country or non-governmental organization which we are engaging has declared war upon us or a true ally first. It really isn’t very complicated.

“Racism” “Family values” “anti-semitism” “feminism” “Americanism” All have become vagaries. Oh yes, there is the “dictionary definition” but when near to no one adheres to it, the potency of such a statement is nullified. That is to say, a untenable language game, for a game has, of necessity, rules, else it is no such thing.

The panopticon is not a system of arms but a system of minds. A prison for zombies, fashioned by ghosts.

Hard hearts are required. Color revolutions in Iran are not.

In 1955, the conservative American icon William F. Buckley wrote that the project of his paper, National Review, was to, “Stand athwart history, yelling, ‘STOP!’” We shall stand athwart history, yelling, “Catch up!”

Old-Anatomy-Drawings-Head-Dissection


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Aesthetics of the Terrestrische Lehramt

We, the ceaseless et ferro, reject all art for its own sake. First and foremost due to the logical incoherence of the proposition; art can in no wise have a sake for it has not a self! The creation of art for its own sake – pah! – such is the narcissistic impulse of ego massaging, a pastime of the directionless or the self-deficient. Man’s ego needs not furnishing or some kind of “dressing up” but rather a grand bolstering in both strength and magnitude.

We affirm, in all quarters, the artist whose craft is brought into delicate synthesis with the whole of his goals. That daring soul who realizes that all avenues of terrestrial action lead back to the will and forth to the realization of it’s directionality. No more will we craft or applaud the works of the escapists and the neutralists – those ossified and fascicle purveyors of utopia – remember well the genesis of the word, “Nowhere!” and such is just where it shall lead us! Rather than escaping from the banal, the tedious, the painful, the arduous and the terrifying, the artist should be actively working to confront and stamp out all those aspect which he had hitherto flown from. Such purpose should be central to our art.

The Critics we shall applaud and dismiss in the most high-handed of fashions those who frump and pout, screaming, “Everyone’s a critic these days.” They invariably say it with a theatrical shake of the head, a note of venom on the tongue, the faux-exasperation of the socialite with too much time on his hands – as if it were a bad thing. Every man should be a critic and a most scathing, blunt and incisive one at that. Our works shall be critical tools, first for the smashing of art with a capital A, the calcified remnants of dogma and “institutionalism,” then plied to the creation of dynamic new artistic collectives.

We affirm the bohemians and the hermeticists, both whom exalt art for a purpose higher then mere, blase stimulation, that gateway to hedonism, and champion their methods; first, art as communal binding, second, art as sacral crystallization – we shall add the third – art as driving mechanical force, a leaping off the high, jagged promontory of the age and free-flying above it’s accumulated filth, inhaling the salted breeze as we turn our faces, not skyward, but to the roiling earth below.

In our flight we envision soaring mega-structures of concrete and iron, glass and steel whose roots seek down the very heart of the earth, encompassing the globe like a great chitin shell, a godly suit of mail, reflecting our unshakable, metallic resolve. We see criss-crossing railways that snake across, above and beneath the tilting ambit of those ominous structures like the luminous, colossal tendrils of our very souls, heralding sleek, titanium vessels that roll out and down from the hundreds of thousands of tracks, into and out of buildings and under and out of the ground, dispatching “the road” with their stupendous omnidirectionality. We spy factories who billow clouds of smoke as grey as that which whisks from the cigarettes we smoke in symbolic delight, out of whose clanking innards pour a ecstatic conglomerate of sweating, straining eisenhausers, who, by fiery and stolid drive to terrestrial mastery, drain the fetid bogs and muck-filled swamps, cut the trees and bushes, divert the rivers and streams and glass the snowy wastes! We envision, in those conquered lands, the erection of industrial academies who hurl out upon the world a magnificent cavalcade of warrior-poets who dispense with the adage: The pen is mightier than the sword. Adopting instead the battle-cry: The pen IS the sword!

With this vision in mind we reject with utmost fervor the doctrine of separation, that codification of unwritten laws which reads: Art for the stars, man for the earth. Instead we shout: Art for the reshaping of the world – the stars can wait!