The Accelerationist Essence of K-pop

K-pop: dissident, reactionary, cybernetic

Introduction

Most of the knowledge presented here has been bestowed to me from Miya Black Hearted Cyber Angel Baby, through direct messages on twitter. K-pop as an art form exemplifies many facets of the thought of the dissident RW-adjacent infosphere. At the same time, it is often looked down upon, for reasons that will be shown to be misguided, but also oxymoronic if one considers the wide adoption of anime in the same environment. K-pop's status as anime v2.0 equipped with a set of features fitting for the reactionary/accelerationist/esoterist will be elaborated.

Get one that looks at you like Sowon looks at SS officers

Cultural and institutional decline

The political and institutional rot of western countries proceed to new levels every day. Our societies have lost the ability to accomplish tasks that require complex/concentrated thought and effort, or even basic infrastructure maintenance. News titles such as warships catching fire or collapsing buildings are becoming routine, clearly indicating a generalized trend. In its sclerosis, the west has largely became dependant on China to remedy its failures. China, as a state with more propensity for coordinated action, is relied upon for a large part of western countries’ need for manufactured industrial goods and other parts of the supply chain.

Culture has not remained unscathed either: our elites have lost the ability to seed the production of any kind of cultural artifact or even simple entertainment that is engaging for the average sensible person, much less cutting-edge high art. The West has resorted to astroturfing artists that are not only untalented, but even sometimes outright disgusting. Singers going viral overnight due to well-connected parents before hitting the wall and fading into obscurity after a few years. Recent trends have revealed a new climax for western artistry: the singer epitomized by the archetype of the neolithic fertility goddess, particularly instantiated by the morbidly obese black woman possessing a revolting voice unfit for singing, lyrics filled with obscenities and praise for the cultural decline that has birthed her. This is a comical inversion of what the artist should be, it is shameful and humiliating on purpose. Similarly to sinister “post-modern” art, the difference between what normal individuals consider beautiful and what is promoted as beautiful is too radical, causing a schism in the subjects’ minds. This schizophrenization aims to gaslight the populace and neutralize its thought processes. But as with manufacturing, this ominous situation is remedied by another Eastern nation, which, in its path to hypercapitalist ascendancy, has undertaken the hard work of artistic/cultural production.

Aristotle and the virtues - background

The complete inversion of reality explained the previous chapter is often met in modern left-wing anti-civilizational discourse. Conversely, right-wing thought is often expressed as accepting the reality, and changing the self to conform to it, instead of trying to engineer an utopia. At its root, this inversion is a rejection of the gods, and therefore of truth too. This rejection undermines any basis of a human telos, and therefore any ethical theory which, properly understood, is a tool to transfer us from our current self to our telic self. The way we reach our telos is through the virtues, as developed by Aristotle and other philosophers. I hope the political implications of the concept of virtue are as clear to the reader as it was to the old (now defunct?) theonomist faction of the NRx movement. With this in mind, K-pop’s relationship with virtue can now be presented.

The cybernetic mechanism of idol production

On the contrary to W-pop, K-pop does not pioneer any way to re-engineer reality to fit whatever elite agenda. K-pop completely accepts the world as it is, takes up the virtues and imbues them to its idols so that they increase engagement with the wider populace, as people are naturally drawn to exemplary and virtuous behavior. The mechanism of idol production, which is cartoonishly techno-commercialist, should be explained here. K-pop is a civilizational institution by itself: chaebols (Korean version of the zaibatsu) facilitate hyper-competitive selection processes among young girls with dreams to become famous, in a merciless meritocratic struggle of challenges where the contestants demonstrate their feminine virtues of beauty, talent, charisma, etc., in order to secure a contract with the respective entertainment corporate conglomerate. The process is cybernetic in its nature, as it essentially deals with a function optimization problem: the maximization of corporate profit in respect to the vector of idols' personalities and virtues.

All of this amounts to nothing less than an industrialization of cultural and artistic production, a feat that seems completely impossible to occur in the West. As western society has lost its manufacturing capabilities, preferring to outsource to China, so too it has lost its cultural production capacity, being overtaken by another East Asian country that has managed to implant the cultivation of virtue inside the effort to maximize gains, and embed this cybernetic process into a wider hypercapitalist framework of culture-production industrialization.

The W-pop artist, on the contrary to all of this, does not undergo a selection process: they are an a-priori god, not susceptible to criticism, vetted alone by the elites, popular for being popular. The results of astroturfing are evident and hilarious.

K-pop VS W-pop

Dispelling the categories

the woke

I have put forth many reasons why deranged leftist abominations would hate K-pop. Those are often seen as the representative audience of it, but that’s only because of their status as a vocal minority. Is it not ironic that its only leftist fans come from western countries? Why are they even attached to this problematic and un-diverse genre? The answer is that they are both aware of the ugliness they themselves have caused to W-pop, which drives them away from it, but also want to destroy any beauty left in K-pop. No actual Korean cares (or is even aware) of that woke shit. It's always western fans accusing idols of "cultural appropriation", or "racism" or "blackface" or whatever, which the idols keep on doing anyway because they are not infected by American CIA psyop virus brain parasites.

the inauthentic

The accusation that K-pop is “artificial” is laughable. Music hasn’t had authenticity in ages. Sailors used to sing sea shanties, soldiers had war songs, everyone had something for their daily lives. This is not the case anymore: music has become theater, pure role play. It’s artificial serotonin-spike induced reality escape. The 30 year old unemployable degenerate pretending to be a viking warrior while screaming black metal lyrics . The abominable hipster producing pseudo-artsy shit in his eternal search for female attention. There’s no authenticity in any of this. K-pop, in a truly Landian manner, accelerates this insight to its inevitable conclusion, the complete vaporization of any meaning and authenticity, crushing art to the flatline of gothic materialism.

the plastic

The accusation of K-pop being “plastic” is misguided as well. It's not fully true, since most idols have publicly released photos from their high school days, long before their debut, proving their face has not changed. But have you considered that the advanced plastic surgery procedures exemplify a very neoreactionary attitude: a trans-humanism infused with the eternal science of phrenology, embedded in the wider cybernetic process of idol production. Many rumors of incels publishing their thoughts online on the occult subject of "looksmaxxing" scouted and hired by South Korean plastic surgery companies...

High + Low vs Mid

K-pop is a striking example of the “High + Low vs Mid” mechanism. It’s an eternal axiom but also historical process, played in situations such as when Caesar allied with plebeians in order to overthrow the patricians. It has been further elaborated upon by Miya, rebranded as dimwit/midwit/topwit theorem, with its application seen in a wide area of subjects.

It has been pointed out that the average K-pop fan is of low status. Nobody wants to be associated with 89 IQ Indonesian stans with fat faces hidden behind burqas on twitter. Mediocrities are therefore afraid of being attached to K-pop as an identity, for fear of this association. The fact is that beyond a certain threshold of status, it’s impossible to be associated with such people, due to the immense difference in appearance, environment, wealth etc. between that archetypal low status fan and the subject. The mediocre person engages in contrarianism, by listening to more obscure genres for example, to deal with this. The high status person, on the other hand, not only remains untouched, but is even incentivized to take up the same identity the mediocre despise, in order to be differentiated from them. This whole process happens subconsciously.

This merge of high + low has another advantage. The existence of a large base of low status individuals who are entrenched in K-pop as an identity helps to obfuscate clusters of dissidents from large scale pattern recognition/data mining algorithms as well as from direct federal agent infiltration, since neither of these mechanisms can easily differentiate the dissident from the average fan of the genre.

The K-pop-military-industrial complex

Famous girl group Loona works under the label of Blockberry Creative. Blockberry Creative is a subsidiary of Polaris Entertainment. Polaris Entertainment is in turn is a subsidiary of Ilkwang Group, a conglomerate that mainly focuses on arms trade. South Korea in other words, has a K-pop-military-industrial complex as their national equivalent to the American woke-military-industrial complex. You might have noticed that too much of what's written here feels like it was taken straight out of some Xenosystems wet fantasy blogpost. K-pop is one of the quintessential and most potent LIVING EXEMPLARS of reactionary and accelerationist thought today, as opposed to internet nerds discussing NRx blogposts from 2013 or writing autistic reddit rants about Austrian economics.

Apotheosis of feminine virtue

Conclusion

I hope I have presented a convincing case for the acquittal of K-Pop and its appropriateness as a group signal/dog-whistle to be taken up by nodes of the online dissident sphere, similarly to anime. I predict that it will soon be embraced as an identity by a select few who want to differentiate themselves from new and inexperienced or entryist elements. A periphery of users will try to copy this move with the incentive to become associated with this core, pushing K-pop’s propagation until it reaches critical enough status to become adopted by the wider dissident environment.

If you counter-signal K-pop you hate beauty, and if you hate beauty you hate god.