READING NOTES #21
Kanye West and Mathematics Ahegao (アヘ顔) Special Edition. Also Pete Davidson & Big Dick Triads.
I may be younger but I’ll look after you
We’re not in love but I’ll make love to you
When you’re not here I’ll save some for you
I’m not him but I’ll mean somethin’ to you
I’ll mean somethin’ too
I’ll mean somethin’ too
You got a roommate he’ll hear what we do
It’s only awkward if you’re fuckin’ him too—Frank Ocean, ‘Nikes’
This is how I’m gonna remember you. Pink cheeks. Two left feet.—Jacob, Breaking Dawn Part 1
You will recall their summer of love in 2018, which began with a rushed engagement and the meme-ification of ‘Big Dick Energy’ and ended in tears.—Paper Magazine, 2018
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KANYE AND BIG DICK ENERGY
Something or even everything is happening rn between Kanye West and cuckdom and Pete Davidson. Everyone knows about Pete’s Big Dick (energy) and about how He Never Got To Have His Big Dick Summer in 2018 but nobody is talking about how all the great art objects (think Ye’s ‘Eazy’, Shakespeare’s sonnets, Joyce’s comments on those sonnets, Breaking Dawn Part 1, and Frank Ocean’s ‘French Triangle’ song ‘Nikes’) are all great cause they give a frame to the subject of being transcendentally wussed out.
Kanye touched on this strictly impossible (for men and women both) triangle-tangle in an August 2018 Jimmy Kimmel Live interview where he speaks openly about his porn preferences. After mentioning ‘blacked’—presumably the dot com not just the genre—he also comments, ‘a lot of black and white obviously’. ‘What’s the point of being Kanye West’, he adds, ‘if you can’t [go into it]? Let’s break down the porn categories.’
The point of being Kanye West is being able to go into it. The point of being Kanye West is being able to ‘break down the porn categories’. The point of being Kanye West is being able to namedrop blacked.com on Jimmy Kimmel Live. The point of being Kanye West is being able to bottom by being a historical black top on live TV in 2018 . . . while laughing.
The list could go on, but the point is that only the Very Great get to unpack the ontological porn categories and the ontological meaning of The Third. The categorical is always, since Aristotle at least, the domain of critical judgements in the accusative mode and of the distribution of known and unknown concepts. The black and white historical dimensions of cuckdom is where you have to be Kanye to go. Or Frank Ocean in ‘Nikes’. It’s where you have to go (since ‘ravishment’ says Duras is the lost word for the end of the world) to be Great like Edward Cullen is ageless.
‘Nikes’ is a triad song, this time about being bi, about biersasure, and then once again about dissolving the top/bottom distinction. Ocean does the impossible of topping through the glamour of being the third—of being left out (I’m not him but I’ll mean somethin’ to you). Just as Kanye buries Pete Davidson alive and decapitates him in the March 2022 ‘Eazy’ video, so Ocean works with the very worst symptom (sexual abandonment) by escaping into the triangle² of bi-sexuality and its erasure. Kanye plays black top on white bottom and then escapes elsewhere through the even worse taboo of white BD energy topping back ‘slave’ top (BBC, BDE, and so on). That’s also why the ‘two versions’ Apple Music video version of ‘Nikes’ is the Greatest song of the last ten years.
GOOGLE LIED TO YOU—NOT A ‘RANT’
If you want to know what real racism is—and not something taught at NYU in the 2010s—just think in a really simple way about the reception of Kanye West especially around the time he went to the White House and hugged Trump. Around that time Kanye did a series of what somehow universally became known as ‘rants’, for example the Sacramento ‘Google lied to you’ fugue analytic after the election in November 2016. Why did this and other moments like ‘the TMZ rant’ became known by that word and that word alone?
Actually, the answer to ‘why rant’ is self-evident. Everyone is extinct but us and this triggers an immense and contrary irreducible extinction drive racism. And in 2022 anyone still alive knows that when Trump was elected even the most thoughtful people went mad because of the extinction drive—and just when they thought they were on the verge of abolishing racism, it accelerated. The four years of ‘resistance’ to Trump as if he were someone infinitely worse than past American presidents directly responsible for wars that murdered a million people in the Middle East is something trivially quantically amazing that is still sending everyone more than mad. The least and most of it was the linguistic demonization of Ye during a time of supposedly evolved racial politics.
KANYE KNEW WHAT TO SAY AND WHEN, AND STILL DOES
When nobody else knew what to say and when, when pretty much the whole of the Anglo-American left did shit that they still owe us reparations for (fifth anniversary of LD50 anyone?), Ye said this:
Stop it, stop it. Hey radio, fuck you! Radio, fuck you! Y’all don’t want to lose again. A lot of people here tonight felt like they lost. You know why? Because y’all been lied to. Google lied to you. Facebook lied to you. Radio lied to you. Radio, fuck you! I know it’s a lot of real niggas working at radio, real people, real programming directors with wives and kids that love music, that can’t play what they want to play because they’ve been paid to play that bullshit over and over and over. And when I say that bullshit, what I'm saying is we love Drake, Drake is great. He’s a great artist. But Frank Ocean is great, too. But you know who the greatest of all of us? Who do y’all think? Nope. Kid motherfucking Cudi. Radio, fuck you! Oh yeah, I’m on my Trump shit tonight. Radio, fuck you. Yeah, I’m taking his lead. I’mma just say how I say, be ‘Ye, and win. I’mma take his lead. Radio, fuck you! Radio, fuck you! Wait a second. Eh, is it, ‘Radio, fuck you? That’s what you’re saying?’ Exactly.
Everything Kanye does superstructurally beatmatches the inside tendency of the moment. The end of the universe has an unconscious and very few know how to track it. If we think about the ‘Eazy’ MV it comes in a moment when the whole world has totally fucking more than lost it again. What people are doing and saying right now is fucking incredibly trivially quantumly insane. What people have done and said about Covid under Biden has made the Trump years look like a Golden Age of sanity. What Joe Biden has done as president has made Trump look like the Genius he always was. What people are doing and saying about Ukraine right now is a consequence of the insane response to Trump. The reaction to Trump prototyped all the madness of the present including the amazingly cringe response to Covid. Everyone who resisted Trump, who didn’t know who or what he really was, who thought Kanye was mad to go the White House and love him, is responsible for Ukraine, for Covid, for five million deaths. Everyone who resisted Trump like a paint huffing hoe should pay reparations to those who didn’t. Everyone is extinct but us, and that includes you.
Everyone on the artists4bernie list needs to pay reparations to everyone else for adjacently making Biden possible and for the war in Ukraine. Everyone involved in Artists for Biden needs to pay reparations to everyone else for adjacently making Biden possible and ipso facto for the war in Ukraine. It’s too easy and too little to say that supporting Sanders was a totally different thing. It wasn’t a totally different thing for the very simple reason that anyone who knows anything about America knows that Sanders was never going to win anything. Wikileaks showed that had already been made impossible. Sanders moves across the face of American politics like Casper the Ghost over New York City in a deleted Honor Levy TikTok video from 2020. He has the same cuteness and the same deleted superfluity. But the Levy TikTok vid was far more useful to us as a sigil for the politics (of the politics) of the universally exceptionalist end of the universe.
Everyone who supported Sanders and everyone who supported Corbyn and especially everyone who imposed on the world the tyrannical assumption that Biden would be infinitely better than Trump should pay reparations to the rest of us. Because everyone is extinct but us. Anyone who indulged in the phantasm of BLM Summer should pay reparations to the rest of us. Because everyone is extinct but us. Everyone who distracts us from the completely self-evident fact that the world is already in a catastrophically gimped out state should pay reparations to the rest of us. Because everyone is extinct but us. Everyone who does not say that the world is going to its ruin should pay reparations to the rest of us. Because everyone is extinct but us. They all lied to us. They all should pay us. We should still do as Kanye said. We should still all—even now—get on our Trump shit tonight. Because it’s the last night in heaven.
KANYE AND MATH
In May 2018, the mathematician Eric Weinstein tweeted that when he and Kanye West met, as outlined in a NYT article that had just been published, they ‘may have discussed the unified magic square construction of large exceptional Lie Groups among other things’. Looking back, it’s hard to know what to make of this meeting between Kanye and the Tits’ Freudenthal Magic Squares mathematician, Weinstein, but it can at least be noted that the mathematical exceptionalism Weinstein mentions has to with extremely unique (esoteric) mathematical objects, and that it is fun to think of him and Kanye discussing these things together. This was, once again, the year of Kanye’s supposed ‘breakdown’, or its serial and productive repeat, which is to say breakthrough. It was the year of the appearance on TMZ. It was the year of the MAGA hat, the year of the visit to the White House. But very little attention was paid to the fact that it was also the year of Kanye the mathematican.
One description of exceptional Lie Groups reads as follows: ‘In the Lie garden, one also finds five rare flowers, the exceptional algebras: G2, F4, E6, E7 and E8, their rank indicated by the subscripts. In view of Nature’s fascination with unique structures, they merit further study.’ The maths that Kanye and Weinstein might—let’s boost the speculation—have discussed together has to do with things so singular that there is perhaps no map or model for them absent themselves. Imagine for example if we tried to work out the probability of the existence of anthropic worlding—us, in other words—and found out that that probability was itself a ‘unique structure’ (1, or even 01). Would that be the same as saying that our probability is us? Is that a probability at all? What would that mean for rap music, for God, for what Kanye in 2019 was calling ‘Jesus’? Perhaps what Kanye and Weinstein talked about was after all the probability of probability as musical code—probability as such. Probability’s own existence as One.
Weinstein, brother to Brett Weinstein of Evergreen College fame, describes the Tits’ Magic Square as ‘this collection of symmetries that is generated by some procedure and it’s almost as if it’s a message from pure design, pure order, and nobody knows what it means.’ E8, for example, which Weinstein and Kanye might have discussed, has up to 248 dimensions, and we have ‘no idea what it’s symmetrizing because it only seems to symmetrize itself’. We can speculate further and say that it seems that Weinstein might have been trying to monetize, as it were, at an apex moment in Kanye’s ‘slavery is choice’ narrative, research into mathematical structures ‘so different and strange we have almost no understanding of them’. It’s also possible that an understanding of exceptional mathematical structures bled into the actual content of Kanye’s always-misquoted 2018 statement about slavery. It’s even possible—impossible speculation just is this—that there is a secret Wyoming mathematics and that Tits’ Freudenthal research is financed by Ye’s religious turn.
REGENERATED SYMMETRIES, CLONED .GIFS: DECADE OF NUMBER
Several years earlier, in ~2014-15, the artist/web designer/musician nightcoregirl aka Sybil Prentice made a teaser trailer on YouTube for a website called ‘nightcoregirl.com’ that briefly existed as little more than a few hidden urls, only to be reached from elsewhere (if you didn’t have the url you didn’t know it was there). None of those pages now exist, even on deep Google image searches and the Internet Archive. Suffering from pre-emptive archive fever, angelicism01 kept a small number of screenshots of supersymmetrical regenerating .gifs, this one called ‘paradise’ (its broken link is http://nightcoregirl.com/paradise). It seems to feature the mostly lesbian porn star Jia Lissa, who now does scenes for Tushy Inc, part of Blacked.
The original ‘teaser’ on YouTube for the nightcoregirl.com website that never really came to exist is dated 14 June 2014 and self-described as a ‘brief video compilation of .gifs found on Tumblr and regenerated with ImageMagick code’. The music used is Mica Levi’s ‘Love’. It’s hard not to see an at least approximate relation between this no longer existing website, its use of supersymmetrical regeneration Magick code software, Tits’ Freudenthal Magic Squares and the flowers of Exceptional Lie Groups that Kanye (possibly) spoke to Weinstein about in 2018.
The video ‘nightcoregirl.com’ animates supersymmetry to the sound of ‘Love’ in a way that went underfunded, perhaps, and so stalled, but the hyperpornographic traces left over from the middle of the decade seem to capture the same self-symmetrising that maths wants to be able to describe. A decade is after all a living thing. It retains its own archive, and its own missing links. The original New York Times article that described Kanye and Weinstein meeting up was written in May 2018, and describes a time when freethinking happened between a specific group of innovators, ‘Intellectual Dark Web folks’.
In April Weinstein had speculated on Twitter that ‘KW [Kanye West] is going to try to jailbreak MAGA to carry out modifications? . . . KW takes a toxic but demonstrably potent brand and de-risks it. This heals the ‘16 wound quickly rather than over decades’. There is a mathematical elegance to this solution, that the MAGA brand needs a resolution that may be politically ugly but is mathematically (dimensionally) beautiful. KW represents a kind of Tits’ Freudenthal accelerationism and the year 2016 (‘the ‘16 wound’) has to be thought about in terms of innovation, maths, even what Virgil Abloh calls ‘general design’.
The dimensional consideration here would be that if there is a virtually second Trump term or a literal ‘2024’, we have to find the numerical means to think with it, in advance. ‘2020’ has to become a dimension, a real number, and since assuming the void of ‘no Trump’ or ‘Trump Assassinated’ doesn’t really solve anything, then KW is allowed to be dissonant as a figure, which is what happened. Weinsten was sensitive to this dissonance, and perhaps only a a mathematician can be. Healing the ‘16 wound quickly rather than over decades or millennia is perhaps only mathematically possible, if it is possible at all. The ‘resistance’ that marked the latter half of that decade was recalcitrant and stubborn in that instead of combining math with, say, design, it wanted to return to pre-‘16 (theory of omnilapse).
Mathematically, it’s as if the trauma of ‘16 never happened. Counting that trauma out is another way of saying it was ‘resisted’. Giving it count, counting it in, is another way of saying it becomes a Number, a Dimension. In this specific mathematical sense, Kanye was right to wear the MAGA hat to the White House and Everyone Else was wrong.
2016/2017.1, .2, .3., .4
The recursion back into other years of the decade is what marks out its close, as many ‘reviews of the decade’ tried to do at the time. In December 2019, Bernie Sanders responded to Hillary’s super dumb criticism of him on Howard Stern by saying, ‘I’m sorry that Hillary Clinton is rerunning 2016.’ The rerunning of 2016 is part of what makes it a wound. It’s as if the whole of that decade were itself about its own years—years as such. But what does this mean? Isn’t it just obvious? What is perhaps not obvious is what a year is, let alone ten of them. This was also the decade years themselves went out of control, beyond survey or knowledge, rerunning and running away with their own annual being as extinction qua extinction began to bend the unconscious out of shape. By this time each new day brings what seems to be a decade of new online infinities, a day of centuries, a minute of decades. In March 2017, Vincent Garton wrote in ‘Catastrophe and Time’:
The phenomenon goes right back to modernity’s blood-soaked political origins: shortly before the world-shaking insurrection of August 10, 1792 that ended the French monarchy, the militants of the Mauconseil proclaimed on August 4 that ‘each day, each hour, each minute, is becoming centuries, is becoming eternity’. Each instant, as the Mauconseil saw, assumes the gravity of a historical era. Time dilates, yet it also compresses: every moment drags on, yet looking back you can hardly believe how fast it’s all gone. Now, it seems, we are experiencing the same extreme templexity. ‘President Trump’: the label still has the quality of a dream. Each day brings fantastical news. The Oscars were just the latest example.
MIKA
Back to 2022 for a moment, and Mika. Not the Mao dress, not even the presence of Roger Stone, more like her expression in all its blank, beyond sardonic, beyond indifferent glory. Caught in the perfect picture and indifferent. Eyes concerned not with the hands that touched Roy Cohn, or with her own life, but then . . . with what?
At the same time, this degree of financial honesty is just as beyond indifferent, just as coldly honest.
UKRAINE ‘TAKES’
Ukraine Takes position the subject as absolutely superfluous to any Real of contemporary discourse and Political Action. They reduce the subject to a new prototyping role. Covid hollowed out neoliberal autonomy to just that extent so that every single subject could follow the lead of the American Empire in giving ‘Ukraine Takes’ as their Example—their Example chosen for us. Which now becomes our Example. Ukraine and nothing but Ukraine. Ukraine in the membrane. Ukraine so that you may forget the collapse of the Covid narrative. Ukraine so that the introduction of CBDCs may escape your manicured attention.
This is why every Ukraine take is sick and unfortunate and immensely occlusive of all that has just happened and is happening on a world scale. When Jackie Wang did us all the favour of going public on Twitter for the first time in years to talk down to the people about what is really going on in Europe, it’s hard to ignore the absence of her own President from the multi-factors she racks up, a President also absent (except as a brief anecdote) from her book on ‘carceral capitalism’. Why is the main legislator behind both the American Prison State and the Color Revolutions in Ukraine so irrelevant to Wang’s vision of the world? Maybe it’s safer from the pov of working towards Tenure to criticize Putin rather than Biden.
The Takes are structurally limited by the fact they’re being given according to pregiven Examples, like in an exam set by the United States of the Manifest Image of Omnilapsing American Empire. But this is what we really believe: we believe nothing anymore. Nobody cares about the death of Ukrainians. Nobody cares about the death of Ukrainians because nobody cares about the death of the world.
WHAT WE REALLY BELIEVE
It’s no longer worth the trouble to make Takes about Ukraine or even Takes about Takes about Ukraine. It’s no longer worth the trouble to keep up with the Covid Industrial Complex and with the Omnicide Machine. No longer worth creating anything in the Arts. What we believe: we believe nothing.
It’s no longer worth doing anything except developing a knowledge of failure: the absolute failure of everything. This is what we believe: that Web3 has already failed. This is what we believe: that NFTs have already failed. This is what we believe: that Blockchain has already failed.
Our pain is constant and sharp, and we do not hope for a better world for anyone. In fact, we want our pain to be inflicted on others. We want no one to escape. But even after admitting this, there is no catharsis; our punishment continues to elude us, and we gain no deeper knowledge of ourselves.
ONE MIASMA TO ANOTHER
As Masha Tupitysn says, from one war to another, from one failure to another:
All of this, by the way, is simply an extension of the COVID war. We need the psychological, goading mindset of the COVID regime (plus the Cold War and Russiagate hysteria of the past few years) and cancel culture to launch this new phase of attack and scapegoating. We can’t be mad at our country for the horror of the past 2 years, but we can project our anger onto another country for what it does to people who ‘look just like us’ (as opposed to all the other countries where people don’t), which makes our narcissistic logic and moralistic performances self-evident yet again. If everyone around the world, as Greenwald notes, is connecting to the same messaging, via social media, 24/7, what is that but propaganda? The virtue signaling of war mongering is the equivalent of the virtue signaling we’ve mastered of masks and vaccines.
SIMONE WEIL AND THE CONCENTRATION CAMPS
Did Simone Weil hear the rumour of the camps in 1943 before dying in England? I keep thinking that. But she would have doubted the rumour. Even then it was a ‘conspiracy’. As far as I’ve read, the rumour had spread already. In effect, it was believed without being believed by the Jewish community (trust among themselves).
A UNIQUE TYPE OF HORNYPOSTING (AHEGAO) 👅👅👅👅👅 Ꮚᵔꈊ’Ꮚෆ
What ties all this together, the hornyposting, Mika, the end of the universe, Trump 2024, Kanye and exceptionalist mathematics is the ahegao genre of open field plasticity. Sex is often related to death, and yet since death is not extinction, the ahegao pose begins to make a new type of sense. The best ahegaos are to be found in extremophile anime where the whole eyeball can be whited out, and the body vored inside out. Since the universe contains the concept of extinction aka rule 34 this must mean that the universe is not and maybe cannot actually go extinct because the concept ‘total extinction’ already exists. If you can think it, it exists. If you can think ahegao/extinction, it must (still) exist.
Let’s simplify. Angelicism is about Extinction. Angelicism reduces extinction to a pure concept. This pure concept of extinction qua extinction becomes light, pure whiteness, manipulable. Once we have this concept, we may repeat it. Things become extiterate. This extiterability is the whole thing of Angelicism. Inside the concept itself is the change to the concept that may be made. By writing out and cloning the open field intelligence of the concept extinction qua extinction we change the field of its intelligence. Extinction changes, and that is down to us. This is the world of universe.
The deep sexual grammar of this set of delicate movements can be seen in ahegao poses. The body, reduced to an extremity, does this. Sex under extinction conditions (sextinction) does this. Now that we have set angelicism running, it will explain to us the rest.
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BREAKING DAWN PART 1
I rewatched Breaking Dawn Part 1. I think I had to repress the memory of Bella’s corpse. First time round I blocked the whole film but I’m seeing what Honor Levy means by the power of YA writing. It’s like the most disturbing thing I’ve ever seen or something, that corpse. Look at Bella holding her vampire transition body bag:
Having sex with Bella is vibe shift sex. The first section/the first hour of the film is about not having sex/having sex. It’s super subtle like there is no way to resolve the question of vampire-vibe shift sex as tension, it’s totally unsublatable as sex. And also the triad with Jacob it’s like the triad in ‘Nikes’ and ‘Eazy’. You always have to have three to love and Jacob has to love Bella so that Bella can love Edward cause really Edward’s love doesn’t or can’t exist, ‘for to figure it out, one must count oneself three’ (Lacan).
I think I get it here, or maybe. In this scene she is dancing with Edward not Jacob the real Edward who she can’t dance with . . . EdwardnotJacob JacobwithEdward. The whole scene is completely hallucinatory. I cant stop watching this scene. I feel like I don’t understand it. At all. Like you can understand Hegel or whatever but not this scene. Everything I said about it is not true.
MORE ON JACKIE WANG
She went on to write a second Thread. This thread like the other one is wrong for self-evident reasons, and it’s strange that both serve to do the exact same thing: efface the role of the US in the conflict. As already said, why not mention Biden’s presence in the two (at least) ‘Color Revolutions’ in Ukraine?
It seems to me symptomatic that the same President who played a leading legislative role in the creation of the Carceral State and then overturned Ukraine through his delegates vanishes in both threads. Again, why?
On China, the guiding event will be not be the unity of a landmass but the opposite: the dissolution of a landmass. The Phantom White Melt Event at the Third Pole. China needs water bad, hence its oppression of Tibet (it needs to control its main source of water, the Himalayas). When the melt happens, the last thing China will be able to do is unify the Eurasian Land Mass.
ANGELICIST MATH
LIKE THIS POST IF YOU WANT EXO-CIVILIZATIONS TO PROLIFERATE BEYOND THE GREAT FILTER FOR THE FIRST TIME IN THE HISTORY OF THE UNIVERSE INFINITELY.
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Sweet😋
Ahhhhhhhh