Post: #1

While I definitely enjoy all the arts, and the variety they bring to life, I'm also one of the first people to call out the ridiculousness behind the rationalizations for what is considered art, dance, etc. nowadays.

I would argue that a populace increasingly steeped in Critical Theory is one where objective truth becomes valued less and less, alongside the rise of Relativism.

https://en.wikipedia.org/wiki/Outline_of...cal_theory

The work, skill, or content involved in a project is now often irrelevant in the face of the ability to incorporate prevailing PC trends, both for recognition and self-righteousness.

Critique becomes THE goal, rather than a tool of logic, and creates a constant drill down against common sense. So much academic nomenclature is used to say so little of substance, and careers are predicated on professional hair-splitting.

Measured, objective discussion is circumvented in place of elaborate, vague rationalizations for actions and ideas, which allow a great deal of post-hoc flexibility and require little intellectual accountability.

If rationalizations are challenged, debate is again overruled by concerns over victimization/harm and lack of understanding of "the deeper meaning/impact".

All of this results in a society where taxpayer money can be used in the form of performance grants, and people encouraged through "higher" education, to produce works like the below example.

For the RVF, I thought I'd coin a more suitable name for this: "The Jezebel Shake"

Quote:Melati Suryodarmo
Exergie-butter dance

Performances focusing on identity and human relations and often referring to political issues and ecological questions are a central part of Melati Suryodarmo oeuvre. The artist says, “I intend to touch the fluid border between the body and its environment through my art works. I aim to create a concentrated level of intensity without the use of narrative structures. Talking about politics, society or psychology makes no sense to me if the nerves are not able to digest the information. I love it when a performance reaches a level of factual absurdity.” Suryodarmo was born in 1969 in Surakarta, Indonesia. She studied international relations and political science in Bandung, Indonesia, before transferring to the Braunschweig University of Art, where she studied butoh and choreography with Anzu Furukawa, time based media with Mara Mattuschka and performance and spatial concepts with Marina Abramović. She has been living in Braunschweig since 1994.

In her performance Exergie-butter Dance Melati Suryodarmo wears a black dress and red shoes while dancing on pieces of butter that keep making her slip and fall. Her repertoire of movements consists of slipping and sliding, crashing down and picking herself up again.

http://www.reactfeminism.org/entry.php?l=lb&id=155&e=t

And just in case you thought this was a one off:

Quote:THE BALLAD OF TREASURES

Performance

2004

Melati is drag along by an old cart drawn by two horses. She soon lets go of the rope that ties her to the cart and gets up and sings. The performance is about obstacles the world imposes upon the individual depending on his or her nationality, race and historical and political baggage.

http://www.melatisuryodarmo.com/html/w-p/02a9.html

I'm sure you can find even sillier examples on her site, and she is just one among many dedicating their lives to these pursuits.

The question is, when irrelevance and absurdity are put on a pedestal, (skip to the end of the Shake to see the boys applauding and cheering) and society sees the above as worthy of respect and resources, what will it take to reclaim reason?

Post: #2

I wrote about Critical Race Theory on RoK: http://www.returnofkings.com/12637/criti...narcissism

As for the fans of her buttered performance, at the end of the day, it is all about group acceptance. Like at some art gallery with some dipshit unveiling a ludicrous painting that is met with thunderous applause, if you don't approve you will be seen as a fool who can't understand its deep and metaphysical meaning. It is all pretentious bullshit.

Some dumbass slipping on butter in high heels does nothing to advance anything but her likelihood of going to the hospital.

I have alienated myself from many groups for my inability to tolerate this sort of self-absorbed bullshit.

In my Critical Race Theory class, I suggested that if the blacks in class are worried about enough blacks being engineers, doctors or whatever, then instead of bitching about it in a black studies class they should, you know, major in that.

I hate this sort of shit.

Post: #3

(07-24-2013 02:52 AM)2Wycked Wrote:  In my Critical Race Theory class, I suggested that if the blacks in class are worried about enough blacks being engineers, doctors or whatever, then instead of bitching about it in a black studies class they should, you know, major in that.

I hate this sort of shit.

What kind of response did you get to your seemingly rational commentary?

Post: #4

My favorite comment on the butter dancing video:

Post: #5

When women are unchained and free as men, they basically go insane. I'm really beginning to believe this.

Post: #6

dont know how to embed video

youtube link

Post: #7

(07-24-2013 12:17 PM)Menace Wrote:  When women are unchained and free as men, they basically go insane. I'm really beginning to believe this.

They used to call these types of women 'ungovernable', now I see why.

Post: #8

.

BLUF, tl;dr: Red Pill theory is Critical Theory.

OP is confused.

I've said it here before, but the toolkit of Critical Theory can be applied to anything.

Red Pill is a form of Critical Theory, Critical Theory is a form of Red Pill.

Red Pill is just not acknowledged as Critical Theory because of ideological biases of both academic Critical Theorists (who are mostly feminists and leftists) and Red Pill exponents (who are reflexively anti-Critical Theory because Critical Theorists are mostly feminists and leftists).

What I did in the paragraph above was an exercise in Critical Theory.

Critical Theory at base is a recognition and examination of the biases and subjectivity of any interlocutor, and how those biases have contributed to social and economic structures which were previously unquestioned because of collective biases.

Sounds like Roosh, Roissy and Rollo Tomassi in particular with his extended "deconstruction" of the Feminine Imperative. In the terminology of Critical Theory, the Feminine Imperative as explained by Rollo is a "hegemonic" structure.

While many recent Critical Theorists publish inane pablum (because of their own biases, of course), I recommend Foucault in particular for realistic Red Pill examination about sex, society, and surveillance.

I've never seen a critique of Critical Theory or the Frankfurt School which displayed any
real knowledge of what the major theorists of those movements actually wrote. It's all shit just parroted from blogs.

Post: #9

That was dreadful. I don't know whats worse the performance or her stupidity. A new meaning to the phrase break a leg I guess.

Post: #10

tu;dw

too ugly didn't watch