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Content Minded Vol 2. Logos Club Years. Compressed 1. Content Minded, Vol. 2. 2017-2019. The logos Club Years. (and more + never before seen content). Giovanni Pennacchietti. 2. (Cover Image. Original buffer image work for the “Broadcasted decay” podcast. Summer, 2018, acrylic on paper). Giant Art Productions. 2020. 3. Table of Contents. Forward/Intro. Pg.5-6. / The Logos Club Collection. 1. The Mission of Art is the Care of the Soul: On the online Right’s Lack of a New Aesthetics. Part 1. (Pg. 8-17). 2. Part 2. (Pg. 18-22). 3. Part 3. (Pg. 23-28). 4. The Modern Bugman, A Brief Primer. (Pg. 29-34). 5. The Ironycel Obsession with Insulting “Virgin Losers”. (Pg. 35-52). 6. Crappy Futures: Or Musings on Dystopian Cyberpunk without the “Cool Stuff”. (Pg. 53-61). 7. Bedrooms of the Nation: A Brief Ontology of Youth Spaces (Pg. 62-72). 8. The Modern Hunger Artists: An Expose’ on the Art of the Deathmatch (Pg. 73-92). 9. Media Gaze and the Incel “Other”: Part 1: Comments on a Growing Dissonance (Pg. 93-108). 10. Part 2. Addressing the Incel Question. (Pg. 109-124). 11. Teilhard De Chardin. The Phenomenon of Man. (New York: Harper and Row Perennial Library, 1955). A Review. (Pg. 125-131). 12. Seed Awakening: Zarathustra’s Postmodern Anti-Modernism, Towards an Existential-Political Philosophy. (Pg. 132-145). / The Hunting Call Articles. 1. The Serenity of Mary. Plein Air Painting at Fatima. (Pg. 147-151). 2. What to do with Despair? Life Among the Ruins. (Pg. 152-160). 4. 3. The Reactionary case for Andy Warhol. (Pg. 161-170). / Oddities and Extras. 1. Media Gaze and the Incel Other: Appendix, on Volcels (Part 3 Uncompleted). (Pg. 172-175). 2. The Skyscrapers look like Gravestones from Here. An Exegesis of Pig City, Plato’s Republic, Book II. (Pg. 176-180). 3. Autotheism for Dummies: New Age Transcendent “Science” (Forum post, Spring 2017). (Pg. 181-182). 4. Drugged into Opulence: Another View on Pharmacopeia. (forum post, Spring 2017). (Pg. 183- 184). 5. EVERYTHING IS UNDER CONTROL: how Scott’s seeing like a state has found a hidden point of discourse. (Forum Post, Spring 2017). (Pg. 185-187). 6. Zen Flesh, Zen strokes: aesthetic haecceities of subjectivity. (Forum post, Spring 2017). (Pg. 188-192). 7. Look here, look there, QUATZ. Zen mind nature. (Forum post, Spring 2017). (Pg. 193-195). 8. The Animal in Art, The Monstrous in life: Our dynamic relation to Aesthetic Animality. (Forum post, Spring 2017). (Pg. 196-200). 9. Appendix to Nobody™ Exegesis: Place within the Contemporary Artworld. (Pg. 201-211). 5. Forward. This compilation of works is compiled from mostly Logos Club articles, more of my attempts at experimental pieces, as well as the beginnings of long form articles that are pieced out into series of works. These works are sometimes spur of the moment cultural criticism and the like. While there are still very politically charged works here, it was my intention to save my more overtly political works for Thermidor Mag and now The American Sun. these works never reached as large of an audience as my other pieces, but they have what I feel to be a different flavour to them than the works in politics, so are therefore worthy of compiling into a second volume of content minded. Some works became quite popular however, but I always felt they suffered from the lack of a “bigger stage” you could say. I have also included some works from a friend’s site that was entitled “The Hunting Call”, and a more in-depth article on Nobody™’s actual works, plus some things I have never released before publicly. Logos Club was one of those sites a few of us in the closing days of West Coast Reactionaries half-heartedly mentioned as a possible place of migration, but unfortunately that never really materialized (and Thermidor was gaining traction at the time too). I was one of the only ones who regularly published on it; to sum up a rather uninteresting story, I had some disagreements with the owner of Logos Club, or rather, I felt that we grew more distant, and stopped communications. He wished to transition the site to literature and short stories only, but also deleted my content without informing me. I like to think my audience has surpassed the site itself, and I do not really harbour any harsh feelings to be honest. There are always new publications and ventures that crop up and fade away, but if one never loses the spirit of the content mindset, that is what truly distinguishes someone. To never give up, to never be discouraged from putting things out there despite immense inner toiling and doubt, to embrace 6. the highs and lows of good content production, that is what matters, and that is the light that should guide the spirit of creativity. 7. Part 1. The LOGOS Collection. 8. The Mission of Art is the Care of the Soul: On the Online Right’s lack of a new aesthetics, Prt1. From the beginning God said, let there be light, and there was light. This is the capstone to the great animating words that threw the world into history. Judaism, and moreso Christianity was born out of the famed words from Genesis. God said, let there be light, but given the metaphor, those of Humanity with the insight of the great philosophers and artists have contemplated these words in one way or another. God said, let there be light, and Man said, we must be the prism through which this light is refracted – and so then there was art! Yes, art has been with us since we had the ability to gaze into the heavens above (and within), find an abode amongst the celestial phantasmagoria, and carve off a piece of that insight into our own works. 9. We have, in the earliest known accounts, the first cave paintings made by Neanderthals in the caves of Chauvet in southern France. In the seminal documentary, Cave of Forgotten Dreams (2010), German documentarian Werner Herzog gives us a close and personal look at these stunning and beautiful works. In them we see the earliest signs of metaphysical religion, ritual hunting practices, and mythology. The ancients painted what they knew, and what they knew is what was most intimately around them. Thus, we have arrived at the most basic of all truisms in art and aesthetic philosophy: the artist depicts what they most intimately know and what is most approximate to them on a physical and spiritual level. One needs to only look around themselves as an artist to feel the divine mandate to create, to bring forth what is one’s own light – derived not simply from the desire for pure self-expression, but out of the light of insight, of LOGOS: of the divinity within all things. But now let us look around to the contemporary art world, and the contemporary world of politics that surrounds art, specifically on the internet. What do we find? A sea of nihilism, crass ironic detachment, the glorification of hideousness and moral depravity, the weaponization of ugliness and absurdity, and more fundamentally, an anti-metaphysical attitude that is ubiquitous and unyielding. Art has degenerated into a social engineering project, hence why the CIA for years used the New York School of abstract expressionism as a covert psychological operation against the Soviets (and the American public). Despite what the mission brief states, the CIA’s promotion of abstract expressionism was never meant to spread some romantic idea of American artistic freedom to the Soviets, but rather to weaponize chaos and absurdity. That is not to say abstraction is abjectly anti-art, that it does not have its place, or that it is doomed to be cast aside as an effete obsession of pseudo-intellectuals and the coastal upper classes. Quite the contrary, abstraction done with a deep purpose in mind can be quite meaningful. Wassily Kandinsky, the father of abstraction himself, said that all great artists are driven by an “inner necessity”, a divine spark that lies within one’s being, driving the artist towards ever-greater heights of expression and harmony with nature. Kandinsky of course has a spiritual purpose in mind, trying to vigorously express the divine nature of being through his colorful passages and dark lines of tonal mass. Even the luminaries of the New York School such as Jackson Pollock, and Mark Tobey before him, were using non-objective painting as a way of 10. expressing the unconscious (being that Pollock was a Jungian). The great inner necessity of these abstract artists (perhaps Morris Graves, Milton Resnik and Mark Rothko included) was to work through this profound inner necessity inside of them, expressing a spiritual longing, as in the case of Tobey, or a purely emotive and psychological wholeness in the case of Rothko and Pollock. But as time went on, abstraction became in vogue – the pursuit of art school snobs and rich collectors – and the art world was turned away from expression of meaning towards a desire for pure profit. A whole slew of artists, even to this day, perform the ritual dance of repeating the same motifs of abstraction and action-painting, becoming ever more solipsistic and meandering. As such, the pejorative term that sprang up to describe the work of these milieus is “zombie formalism”: the bloodless repetition of a well-established genre of art for its own sake. Soon art (to quote the Roman historian Edward Gibbons) has become what it is now, freakish and sensationalistic, ghastly in its near-nihilistic way of celebrating the mundane and superfluous, dressing (sometimes literal) trash as a profound political statement.
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