Apopthelema Entry 6 Part 3 -just found- by Kyle Nonneman

Saturday, June 14, 2018

Apopthelema Entry 6 Part 3 -just found- by Kyle Nonneman

Apopthelema Entry 6 Part 2 by Kyle Nonneman
(Note: I just found some missing parts to early entries. I'll be posting them before I continue with the newest stuff. Here's the missing PART 2 from Entry 6)

by Kyle Nonneman

[Note: this was composed in prison where proof-reading facilities are notoriously bad. Please don't hold that against the author. You can contact Kyle through the address listed at the end of this entry.] 

Lovecraft distilled the gothic elements from gothic romance and discarded the rest of it. Just like he took all the bleakest and most horrifying elements of supernatural literature and isolated those core images and filtered it through his misanthropic anti natalist nihilism known as cosmicism.

Lovecraft's work had almost no characterization. Let alone anything remotely human for readers to relate to. It transgressed all that and spitefully refused to pander to simple minded readers who needed a linear narrative and character development to sugarcoat the horror of his work. In his refusal to pander to accepted standards of what proper writing is supposed 
to be his work was all the more powerful and disturbing as a result.

Lovecraft's imagery was also at times vague and subjective. Prompting the readers to fill in the blanks with images from their own psyche. As a result, Lovecraft was able to coerce readers through understated details to imagine personalized visions of hellish nightmares from their own minds and this as a result made Lovecraft's work more powerful then overly descriptive formulaic writers who gave readers clean precise descriptions. 

Like Lovecraft removed the romance from Gothic Romance, a lot of extreme metal took all the pop and rock elements out of thrash and heavy metal and even stripped out most of the blues influences. Leaving by a cold monstrous sound of pure evil. This was taken to an even further extreme by power electronics and noise artists carrying on what true industrial stood for before it became associated with raver trash dance music and false mall metal with keyboards. In what is in effect the auditory equivalent of Lovecraft's prose.

As a result weak minded sheeple can't handle it. They try to disarm their revulsion and claim to appreciate some metal, but they cant handle true metal, metal refined and distilled down to its brutal core of pure evil. Remorselessly and unrelentingly dissociated from anything remotely relatable to the common mass of mankind. Something the common cattle can't even decipher.

They will claim that its too loud, too distorted, the lyrics are just screaming, or cry about the unintelligible lyrics that they simply can't understand.

Its interesting cattle accustomed to pop music will typically say similar things about jazz. You play jazz for a lot of sheep they will complain about the lack of vocals and the timings they cant follow. But these aren't valid criticisms .
Its like an illiterate crackhead giving a book a bad review because the words were too advanced for his reading level.
Or a child criticizing a gourmet dinner because there's no sugar in it and he just wants to eat candy... Or a toothless senile old man complaining about food being too hard to chew.

Their suggestions to make the music they disapprove of more acceptable to their palette are all centered around debasing down to the level they can understand. Making things safe for everyone. Weakening it and sugarcoating it for civilians. This is the tyranny of the masses in action and the type of forced equality that destroys individualism like what Vonnegut was satirizing in Welcome To The Monkeyhouse.

They'rer also completely blind and ignorant of the passion and the energy behind the music. John Shirley wrote a great description of live Punk Rock in his cult cyberpunk science fiction classic 'City Come-A-walking'. He said the fact that the lyrics were indecipherable and unintelligible didn't matter because the sheer passion and energy behind the performance overcompensated for all of that.

But they don't get that. They're actually,  in a lot of cases, frightened of music with actual emotion and feeling behind it. Buying releases from shock acts whose extreme lyrics are actually just a misunderstood metaphor for something acceptable and politically correct. Prefering dead clean sterile remastered studio versions of radio hits over live bootleg deep cuts where the band is actually taking their mask off. 

You listen to the live Joy Division material, is raw,violent, and distorted. Ian Curtis' voice cracks and becomes frantic. The fluctuations in volume heighten the delivery. It's the sound of Curtis bearing his soul to the crowd and letting his emotions bleed through the microphone. In the last years of his life before he committed suicide. The Martin Hannet production material is cold and definitive but it also tones down and censors a lot of what Curtis was trying to convey.

On albums Black Sabbath's heaviness dosn't reach the level of modern acts like Electric Wizard. Sabbath's Live at Asbury Park New Jersey bootleg from the seventies is as essential as Paranoid. It's Sabbath live in the flesh with all the proto metal doom conveyed in a more heavy context due to the mafia produced board mix that isn't cleaned up and post processed by major label hired gun studio exec engineers for proper radio airplay.

--end of part 3--

You can contact Kyle at:

 Kyle Nonneman

 #16534211

Osci

3405 Deerpark Dr SE

Salem OR 97310

And here's some more art from Kyle:

You can also see a profile and have e-contact at:

http://www.writeaprisoner.com/Template.aspx?i=z-16534211

And a new contact: https://prisoninmates.com/profile/KyleNonneman16534211

I'm Mykel Board, and I post for Kyle because no one else will. If you're interested in my own ideas, you can read me at: mykelsblog.blogspot.com

--end

Apopthelema Entry 6 Part 3 by Kyle Nonneman

Apopthelema Entry 6 Part 3 by Kyle Nonneman

[Note: this was composed in prison where proof-reading facilities are notoriously bad. Please don't hold that against the author. You can contact Kyle through the link listed at the end of this entry.]



Lovecraft distilled the gothic elements from gothic romance and discarded the rest of it. Just like he took all the bleakest and most horrifying elements of supernatural literature and isolated those core images and filtered it through his misanthropic anti natalist nihilism known as cosmicism. Lovecraft's work had almost no characterization. Let alone anything remotely human for readers to relate to. It transgressed all that and spitefully refused to pander to simple minded readers who needed a linear narrative and character development to sugarcoat the horror of his work. In his refusal to pander to accepted standards of what proper writing is supposed to be his work was all the more powerful and disturbing as a result.

Lovecraft's imagery was also at times vague and subjective. Prompting the readers to fill in the blanks with images from their own psyche. As a result Lovecraft was able to coerce readers through understated details to imagine personalized visions of hellish nightmares from their own minds and this as a result made Lovecraft's work more powerful then overly descriptive formulaic writers who gave readers clean precise descriptions. Like Lovecraft removed the romance from Gothic Romance, alot of extreme metal took all the pop and rock elements out of thrash and heavy metal and even stripped out most of the blues influences. Leaving by a cold monstrous sound of pure evil. This was taken to an even further extreme by power electronics and noise artists carrying on what true industrial stood for before it became associated with raver trash dance music and false mall metal with keyboards.

In what is in effect the auditory equivalent of Lovecraft's prose.

As a result weak minded sheeple can't handle it. They try to disarm their revulsion and claim to appreciate some metal , but they can't handle true metal, metal refined and distilled down to its brutal core of pure evil. Remorselessly and unrelentingly dissociated from anything remotely relatable to the common mass of mankind.

Something the common cattle can't even decipher. They will claim that its too loud,too distorted, the lyrics are just screaming, or cry about the unintelligible lyrics that they simply can't understand.
It;s interesting cattle accustomed to pop music will typically say similar things about jazz. You play jazz for a lot of sheep they will complain about the lack of vocals and the timings they can't follow.

But these aren't valid criticisms .It's like an illiterate crackhead giving a book a bad review because the words were too advanced for his reading level. Or a child criticizing a gourmet dinner because theirs no sugar in it and he just wants to eat candy... Or a toothless senile old man complaining about food being too hard to chew. Their suggestions to make the music they disapprove of more acceptable to their palettes are all centered around debasing down to the level they can understand. Making things safe for everyone. Weakening it and sugarcoating it for civilians.

This is the tyranny of the masses in action and the type of forced equality that destroys individualism like what Vonnegut was satirizing in Welcome To The Monkeyhouse. They're also completely blind and ignorant to the passion and the energy behind the music.

John Shirley wrote a great description of live Punk Rock in his cult cyberpunk science fiction classic 'City Come-A-walking'. He said the fact that the lyrics were indecipherable and unintelligible didn't matter because the sheer passion and energy behind the performance overcompensated for all of that.

But they dont get that. They're actually, in a lot of cases, frightened of music with actual emotion and feeling behind it. Buying instead releases from shock acts whose extreme lyrics are actually just a misunderstood metaphor for something acceptable and politically correct. Preferring dead clean sterile remastered studio versions of radio hits over live bootleg deep cuts where the band is actually taking their mask off.

You listen to the live Joy Division material, is raw,violent, and distorted. Ian Curtis' voice cracks and becomes frantic . The fluctuations in volume heighten the delivery. It's the sound of Curtis bearing his soul to the crowd and letting his emotions bleed through the microphone. In the last years of his life before he committed suicide The Martin Hannet production material is cold and definitive but it also tones down and censors a lot of what Curtis was trying to convey.

On album Black Sabbath's heaviness doesn't reach the level of modern acts like Electric Wizard.
Sabbath's Live at Asbury Park New Jersey bootleg from the seventies is as essential as Paranoid. Its Sabbath live in the flesh with all the proto-metal doom conveyed in a more heavy context due to the mafia produced boardmix that isn't cleaned up and post processed by major label hired gun studio exec engineers for proper radio airplay.

(contact Kyle at: http://www.writeaprisoner.com/template.aspx?i=z-16534211 )

Apopthelema Entry 3 Part 2

Apopthelema Entry 3 Part 2 by Kyle Nonneman

[Note: this was composed in prison where proof-reading facilities are notoriously bad. Please don't hold that against the author. You can contact Kyle through the link listed at the end of this entry.]

Apopthelema Entry 3 Part 2

by Kyle Nonneman
or NOTHINGISTTRUE

APOPTHELEMA #3 
BY NOTHINGISTTRUE



In George Smith's book Why Atheism? He discusses the short and easy refutation of atheism: "Even if the atheist is able to deny the existence of a particular god (e.g. the god of christianity) owing to its contradictory attributes this does not preclude the possibility that a god of some kind may still exist. Even if we cannot define adequately in human terms."

George Smith then rambles on a bit and grasps at straws and dosn't really provide any concrete rebuttal to this common attack on atheism. Smith's problem is largely due to the fact that his work panders to the masses. By cheaply pulling his punches in order to be more accessible to a mass market readership. He ignores the obvious answer to this common argument made by xians: Cosmicism. Do we as humans care about the feelings and opinions of cockroaches and maggots? Do we care about the moral and value systems of a centipede?

Of course we as a species are utterly apathetic to such basely pedantic concerns. In most cases our only interactions with those lower forms of life are in fact to exterminate them without remorse ever factoring into the equation. Because they are of course so far below our level of perception and cognition That they become non entities.

This is what our species is in the face of a higher power. We are so microscopic in comparison, that we will never grasp its presence, let alone understand its motives and identity, so for all intents and purposes it doesnt exist to us. Because its so far outside of our range of perception we cant even sense its presence. So why waste our lives chasing something thats beyond our comprehension? Why should we delude our selves into believing that a being intelligent enough and advanced enough to swim freely through "Black seas of infinity" is going to listen to the prayers and dreams of a parasitic species trapped perpetually on a "Placid island of ignorance".

Lovecraft by creating the Cthulhu mythos and the philosophy of cosmicism, in fact rendered that cheaply common attack on atheist reason obsolete. But George Smith, being a deconverted christian, not a natural atheist, still clings to some of those chains. He dosnt factor in the utter insignificance of humanity into his equation. Hes not ready to face the axiomatic truth that our existence is in fact meaningless.

As a result most of his work consists sadly of him trying as vainly as a xian to quixotically find meaning and purpose,where there is in fact none whatsoever. Furthermore George Smith states that writing a definitive philosophy of atheism would in fact be impossible. Despite Emma Goldman previously doing just that decades ago to powerful effect. George Smith also goes off topic and wastes readers time by attacking Ayn Rand in a thoroughly sophomoric fashion. To ignorantly attack the work of Ayn Rand in a book intended to promote logic and reason and advance atheist thought is as inane and irrationally counterproductive as a preacher giving sermon on the shortcomings and failures of christ.

Readers will find more relevant information on this topic and its relation to Lovecraftin in Ligotti's classic of modern philosophy and literary analysis: The Conspiracy Against The Human Race.