Clavicular is post-cancelled in the sense that they tried to cancel him for associating with Fuentes and Tate and he didn’t apologize for it yet it didn’t stop his ascent; and he is dissident in the sense that he doesn’t subscribe to progressive censorship rules, instead following personal values and free association. I proposed Clav to walk the NYFW show as part of our collab with Elena specifically for this reason, he’s the first new figure with cross-over appeal to push past an high profile attempted cancel, getting him into an institutional culture space like NYFW is a coup; besides his conceptual and aesthetic relevancy to our sustained engagement with dissident online subcultures and specifically looksmaxxing being the perfect intervention on fashion. Elena is one of the few seriously forward thinking designers in fashion and was fully into the suggestion immediately where almost anyone else would have balked at the idea, but I’m sure it was still a fight on her end to make happen, her and her team took real risks to cast him, and got hate from the still very conservatively leftist fashion world for it. You can argue Clav breaking into fashion modeling would have happened regardless but I’m doubtful, his casting, especially to close an opening show for NYFW, was a radical, controversial gesture for Elena to do and required her active advocacy to push through, likely even among some of her team and collaborators. The culture industries have been much more conservative in sticking to progressive censorship than general pop culture, you have to respect the risks people are taking to break it through. The rule is supposed to be if you talk to Fuentes, talk to Tate, etc. you’re cancelled, and now anyone that works with you will be cancelled too, like a virus isolating you from the culture industry; the rule getting broken breaks that spell. You can see in these caps, they’re also pissed we cast Dasha in the lookbook film for the collection, who was supposed to have had her career ended when they got her dropped from her agency, because she talked to Alex Jones or BAP or Fuentes or whatever else. She was supposed to be buried like Clav was supposed to be buried, but it’s not working anymore. Every example of a post-cancelled figure demonstrating immunity to cancel censorship undermines their ability to make others fear cancel by association. If they had the power they would blacklist Clav, Elena and Remilia permanently from fashion for this, just like they tried to do Dasha, and right now there are many running around trying everything they can to make it happen for Elena’s transgression. But there are thousands of more watching quietly trying to decide whether or not it’s yet safe to finally abandon the gestapo and join the resistance movement, knowing though they’ll get cancelled for it, too. It starts with those willing to take risks.
Libtards are so used to the last decade of academia-media under occupation by the state party ideology, where the only thing you had to do to remove a dissident was identify their inallegiance to the party line (“problematic”), and the only assessment of work came from exclusively positivd criticism merged indistinguishably from agent PR, they’ve completely atrophied any ability to appraise and communicate on work on its own merits, to read art for itself, only analyzing allegiance signaling and expressing status positioning—which leaves the outsider, anti-institutional avamt garde where real art lives entirely illegible to them. As merely identifying dissent fails to land, the only other thing they’re able to do is make vague implications of the work being “boring”, “done before”, etc. hoping smugly alluding indirectly to some kind of unsophistication will trick the audience into a consensus against it. All you have to do is simply challenge them to actually detail the work being critiqued, and they will reveal not only have they not read it, but are incapably of even describing it, let alone critiquing it; actual work existing outside party deferences is ILLEGIBLE, these people can’t read; they are entirely only working backwards from the original point: you breached deference to the party ideology. Try as hard as you want, I always ask them to just “describe what you’re critiquing” and they will always refuse entirely, and severely embarrass themselves when they dare do it. They’ve spent a decade only learning to read work in the context of party ideology and social status signaling, actually engaging art on conceptual, theoretical and historical basis is lost knowledge; as the only living art today exists outside the institutional art world, art itself is illegible to them. But the existence of a monolithic party ideology pushed by the state in union with centralized media and academia is over, media has decentralized out of their control and the state got semi-invaded by populists, and China is rising, we live in multipolarity— you have to crawl out of the cave and learn to read the real world again.
In what way does the acquisition and development of encryption technology to develop money, communication and compute defensibly decentralized against state intervention and easily accessible to the public to the point the forced integration into commonplace institutions was achieved, despite their active resistance, contradict the effectiveness or authenticity of the cypherpunk’s politics? Cryptopunks don’t know the first thing about what crypto actually means.
@CharlotteFang77 A new art is emerging that can’t be viewed directly—only lived inside, mistaken for life until it’s already happened.
@CharlotteFang77 Milady brings back the punk in cypherpunk with irreverence, violence, and the spirit of a genuine countercultural movement. Crypto is a permanent insurgency against the state, and Milady is the pfp of that war.
Remilio
(1) Crypto is revolutionary resistance against the state by force much more authentic and successful than any other leftist movement in the last 50 years; (2) Remilia is not a “crypto coin”, its a movement and living manifesto (3) Remilia’s experimenta including wrapping itself into speculative derivative offerings via crypto are the opposite of revealing inauthenticity, as it successfully enabled independent peer-to-peer financial backing free from institutional and commercial corruption besides being another demonstrable fruit of the contemporary avant-garde in exploring previously impossible new territories as finance art. (4) There is a reason your NGO-fed political “views” consisting of the same state party line shared by every major corporation chose to program you useful footsoldiers to blindly respond to the only genuine resistance with impulsive, shallow countersignalling. You are not the resistance. You are a ward of the state, and I can prove it: you’re vaxxed 😹🫵
It’s especially pathetic that now that progressive censorship no longer has the backing of the state with real threats of financial consequence, the only recourse its vestigial subscribers have to effect any influence is launching harassment campaigns targeted specifically at any of their own peers who might dare to venture out into engaging new culture, just bullying each other into staying fearful crabs in the bucket. The post-cancelled will ascend and the never cancelled left behind to rot.
