I recently watched “An Artist’s Story” by Chekhov in class and it reminded my of this essay I read (GIGA BLACKPILL)

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That art speaks of the primordial fantasy is also hinted at by Freud. What is involved in the artistic activity is not a simple undirected shaping of the matter, but an essential raising of the given material onto a higher ontological plane. Freud contends that in this way a ‘new kind of reality’ is created. It is a reality infused with displaced pleasure, with the satisfaction of the drive in an object, which differs from the one that the drive originally aims at. Art works therefore constitute the reality of sublimation. Something takes the place of something else, and in light of that comes to share (or as Plato would say, participate) in the same level of being, even if imperfectly and also deceptively because it hides the nothing.

It is at the entrance into this space of absolute annihilation, at the very limit of the Hades, that a form, a presence, surges forth: the knife falls from the murderer’s hand, the glass filled with poison is spilled, the sleeping figure awakes from a dream of destruction. This moment marks the appearance of the beautiful, the appearance of the appearance, which holds one back. It is not that one stops in one’s tracks with the will to move as if spent, because of what this beautiful form is in itself, but because one glimpses something that is behind it, something that gives it support, from which it has separated in the final bid to prevent this planned plunge into death. It might even be said that in the beautiful there is embodied the desire of the evil, the evil protecting itself from itself, shielding itself from its own repetition compulsion.

The beautiful emphasizes procreation and regeneration.

One of the faces of the beautiful is that of the Sadean fantasm. This fantasm is given birth by the suffering object, by that victim of unspeakable tortures and never-ending torment. Yet it represents the victim’s “indestructible double,” something that is impervious to all pain: bizarre atrocities devised by Sade’s libertines cannot affect it. It is exactly this inability to be affected, this indifference to the state of the object giving rise to it, that constitutes the essence of the beautiful. One is reminded of Kant’s definition of the beautiful as that which elicits a “contemplative” stand, an attitude of the imaginary that manifests explicit unconcern with the consequences that the actual existence of the object may have on the way reality is structured. The real lurks behind the beautiful, but it cannot touch it.

It is not the case either that the beautiful can be touched by the one perceiving it, the one that is on the way to das Ding. But the beautiful stops this traveler: what the understanding of its message provides is none other than a source of jouissance. In fact, one of the fundamental conclusions Lacan draws from the Freudian discovery is that all satisfaction first takes place in the realm of the imaginary, it is hallucinated, it represents a psychic Besetzung into something that proved to be capable of pleasing in the past. It is only after this initial surge of pleasure that an effort is made to connect this experience – for the sake of its continuation – with something that approximates the hallucinated (the pleasurable) object out there in the external world. In this respect, the beautiful can be seen as exactly that site toward which the imaginary is oriented, the site revealing both the limit of the most intense jouissance and the production of fantasms that constitute it.

The beautiful is therefore the space of a peculiar generative process. Any object that enters it becomes an inscription, a cut around which a network of the Vorstellungen will be established. Transformed in this way, the object is incorporated into the functioning of the pleasure principle: it comes to be permeated with jouissance at the same time as its substance undergoes a qualitative modification. In order to speak from the position of the beautiful, the object has to become a form, a semblance, an Erscheinen. Its content, whatever it might have been before being captured by the irresistible pull of this field of the limit, is unimportant. Heidegger has shown, for instance, that the worn-out shoes Van Gogh painted mirror that which is beautiful as convincingly as a statue of a Greek god, or even Titian’s ‘Birth of Venus.’ The only thing that matters then is that the possibility of the object’s further metamorphosis is taken away: its new identity - represented by a signifier - makes it die for the second time. It becomes forever “joined to a mouth that is closed.”It is at this point that one can perceive the connection between the formative and the pleasurable aspects of the beautiful hinted at by Lacan in that sentence from the ‘Mirror Stage,’ which guided the desire behind the creative endeavour of this entire account. One can therefore say that the beautiful is none else than a constituting field, which creates forms, due to its nearness to that “closed mouth,” to that silent, ultimate shaper, and, which pleases for precisely the opposite reason: it makes distance from it possible. In the beautiful, one uncovers one’s future as one’s past in the non-existence of one’s present. In other words, the impossibility and the necessity of existence.

This is one of Lacan’s descriptions of love. The ‘reacher’ isn’t looking to find a love object, only a fruit or a flower, and then they happen upon another hand, also reaching. This conception of love occurs within the realm of the Real, rather than the Imaginary or Symbolic.

Does a flower really have beauty? Does a fruit really have beauty? No: they have only color and form. And existence. Beauty is the name of something that doesn’t exist. But, that, I give to things in exchange for the pleasure they give me. It means nothing. So why do I say about things: they’re beautiful?

@Primalsplit @girthygirt @Shrek2OnDvD @inversions @True truecel
 
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Where's the @Master tag 😡
 
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@MogsGymMaxx @chicolate131 @Jason Voorhees @Vantablack @Mainlander
 
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I remember reading jekyll and hyde in school and learning about lombrosos theory

blackpill has existed for centuries

right @Master ?
 
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so you could say that beauty in a sense doesn’t truly exist? rather we perceive things as beautiful based on the pleasure they give us?
 
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beauty is easy to understand, it takes 1 nanosecond to recognize. all this coping from freud and other frauds doesn't deepen our understanding, it convoluted it, takes us away from the basics of beauty. beauty is universal, biological. it is divine. and that is all it is and ever will be. and ugly old men and pederasts from past centuries will never be able to distill it down beyond that no matter how much manic wordcel energy they put into these cope bibles
 
so you could say that beauty in a sense doesn’t truly exist? rather we perceive things as beautiful based on the pleasure they give us?
And that pleasure is valued in its relation to coming near to, but not falling under, death
 
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beauty is easy to understand, it takes 1 nanosecond to recognize. all this coping from freud and other frauds doesn't deepen our understanding, it convoluted it, takes us away from the basics of beauty. beauty is universal, biological. it is divine. and that is all it is and ever will be. and ugly old men and pederasts from past centuries will never be able to distill it down beyond that no matter how much manic wordcel energy they put into these cope bibles
Mayb read before u comment
 
I remember reading jekyll and hyde in school and learning about lombrosos theory

blackpill has existed for centuries

right @Master ?
True jekyll and Hyde is blackpilled too ngl
 
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And that pleasure is valued in its relation to coming near to, but not falling under, death
that’s very insightful. I think that might explain our strong passionate reactions to something we perceive as beautiful.
 
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I bookmarked this will read later
 
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that’s very insightful. I think that might explain our strong passionate reactions to something we perceive as beautiful.
Yes, builds upon what lacan calls ‘jouissance’
 
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Why u think so
Because of the rigid class system

You would literally be forced into poverty if you looked ugly

Atleast now you can live a quiet life while being ugly

Yeah you might not get a bad bitch but atleast you wont get lynched or something
 
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Because of the rigid class system

You would literally be forced into poverty if you looked ugly

Atleast now you can live a quiet life while being ugly

Yeah you might not get a bad bitch but atleast you wont get lynched or something
Economically yes ofc, feudal and even early industrial systems had extremely rigid classism

But i dont believe looks were necessarily a component in that?
 
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Economically yes ofc, feudal and even early industrial systems had extremely rigid classism

But i dont believe looks were necessarily a component in that?
If you were ugly and looked "atavistic" you wouldn't be able to get a good job like working in a bank for example.

You would be left with options like working in a factory because of the fact that you didn't have a "respectable appearance" which would stop you from even reaching the middle class
 
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If you were ugly and looked "atavistic" you wouldn't be able to get a good job like working in a bank for example.

You would be left with options like working in a factory because of the fact that you didn't have a "respectable appearance" which would stop you from even reaching the middle class
Oh shit i didnt know abt that tbh
I assume this was limited to victorian England tho
Also interesting how some of those ‘atavistic’ traits are now considered attractive . . .
 
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I assume this was limited to victorian England tho
yeah ive only read about victorian england tbh
Also interesting how some of those ‘atavistic’ traits are now considered attractive . . .
yeah

just shows how theres never really gonna be a rigid standard set and its gonna be continuously evolving

manlets like me might have a chance in 200 years :love:
 
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yeah ive only read about victorian england tbh

yeah

just shows how theres never really gonna be a rigid standard set and its gonna be continuously evolving

manlets like me might have a chance in 200 years :love:
Also further evidence that beauty isnt objective

I mean its reflected societally, u know victorian society was more reserved and high class. U see w the jekyll and Hyde story where evil or degenerate traits were repressed
But now we are more open abt these things, which can produce individual or niche appeal, fetishization, etc
We’re kinda in the process of the ‘evil’ reversing the ‘good’
So yeah who knows bru
 
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Also further evidence that beauty isnt objective

I mean its reflected societally, u know victorian society was more reserved and high class. U see w the jekyll and Hyde story where evil or degenerate traits were repressed
But now we are more open abt these things, which can produce individual or niche appeal, fetishization, etc
We’re kinda in the process of the ‘evil’ reversing the ‘good’
So yeah who knows bru
But ig there can also be like a sort of ‘meta reversal’
Like how we’ve seen a resurgence of conservatives and right wingers in the last couple of years, after the few years prior were more liberal dominated
 
@MogsGymMaxx
 
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Beauty is the form in which desire becomes visible so when desire take shape we see it as beauty, this stops us at the destruction, despair death etc but it’s all an illusion
 
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Beauty is the form in which desire becomes visible so when desire take shape we see it as beauty, this stops us at the destruction, despair death etc but it’s all an illusion
Yeah u got it basically
 
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Although its reification essentially dilutes the illusion into, an albeit incomplete, vision of reality
Yeh what left is a partial glimpse of reality never the the full experience
 
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Yeh what left is a partial glimpse of reality never the the full experience
The entirety is impossibly difficult to experience consciously
 
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@EthiopianMaxxer
 
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