THE NECROPHILIA OF HIGH ART: WHAT TIMOTHÉE CHALAMET DIDN’T SAY
HOW THE DEAD CANONS LEECH OFF MODERN CELEBRITY CULTURE TO STAY RELEVANT

Opera and ballet have lunged forward to prove their relevance — and thus their necessity — to the modern world, as if sundials were striving to compete for relevance with Artificial Intelligence. No one denies their historical significance, but for the sake of human evolution, it is time to move on, shedding the old skin.

Old-format art has yielded to new technological forms that offer expanded horizons for human creative potential; as a consequence, it has lost its innovative edge and its grip on the world's attention.

Stranded upon the wreckage of a former reality, decimated by the technological breakthroughs of the 21st century, old-format art — instead of embracing the radical challenge of the future — has chosen to wall itself off within a niche circle of adepts of the past, those unable to process their grief and step into the unknown.

Only by a stroke of luck, rather than through its own merit, did it emerge from obscurity and stir in agony — as if realizing that this chance to latch onto the fame of a celebrated contemporary, using his name as both a spotlight and a megaphone to prove to themselves, “We still matter!” — would never come again. It is a mummy suddenly rising in its crypt — not from a surge of life, but from a stray draft stirred by the whirlwind of Timothée Chalamet’s living fame.

The Met Opera even dedicated a video to Chalamet, eager to ride the wave of an external scandal for a shot of fresh blood; and, more importantly, to shield the rose-tinted glasses of its acolytes, mourning their shattered dreams, from a painful collision with the present reality — and above all, from their exodus out of the intensive reanimating of the ancient world's corpse to architect the unprecedented greatness of the new era.

Elon Musk — as a true reformer, sensing the pulse of the era — drags humanity into an uncharted future, rescuing it from stagnation and the rot of passive nostalgia. He is today’s Richard Wagner, who has shed the old skin for the sake of new forms that now reside not within the halls of academies, but in the sphere of high technology.

When a reformer departs a sphere that has received his nourishment — it dies, becoming merely an exhibit in the museum of human genius. The castle of the former glory stands empty, a derelict monument immediately occupied by necrophile normies. Fearing change, they seek comfort in a predictable past, flattering themselves with illusions of belonging to something "great".

But true greatness is always found in the "here and now" — in the unsafe, precarious zones formed under conditions of uncertainty. The museum-goer, like a true necrophile, wants no part in true greatness because it demands risk and transformation. He prefers to parasitize the reforms of a safe past — Wagner's operas and Stravinsky's ballets, created by those who endured scandals for their disruptive, terrifying, "non-normie" mindset — while Musk today dictates a new reality that requires no proof.

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What we face is not a dispute over taste, but a radical fracture of society: between the pioneers of the high-tech world and those left behind in the twilight of a primitive era, clinging to the wreckage of obsolete canons.

PARASITISM & STAGNATION IN CONTEMPORARY ACADEMIC MUSIC
CAN HIGH ART SURVIVE IN TODAY’S CLASSICAL MUSIC BUSINESS?

Thanks to widespread access to the Internet, we can see how many mediocre people are making art.

Unoriginality, formulaic thinking, imitating the same images. Instead of doing quality work for the benefit of society, where they fit — like a fish in water — people who belong in factories come into the arts and start stamping out their mass-produced garbage. 

And then equally useless musicologists dig through that trash to spew their clichéd nonsense about the “creativity“ of people as talentless as themselves.

And this isn’t about pop culture — which, at least, is intended to be accessible to everyone — this is happening in contemporary academic music, where creative stagnation hides behind complex terminology and institutional prestige.

Well-known ensembles, whose true place is playing gigs in bars for hire to make money, adjust to the demands of the public. Composers, in order to be performed, adjust to the demands of these ensembles. Despite relatively small sums compared 

Not only do factories pollute the planet by producing unnecessary things, but the “creators”-conveyors, capable of stamping only boring plastic crap, have sucked on academic art, and instead of using contraceptives and finishing their work “in a desk drawer,” they pollute the World Wide Web with junk, bringing disgrace to academic music while performing under its cover.

High art is an elitist field where the basic requirement for the author is exceptional intellect, along with the ultimate originality of every piece. The essence of this endeavor lies in creating a unique work of art, as rare as a diamond — independent and uncompromising, opening new dimensions of perception — rather than stamping out as many copies as possible in the style of Lachenmann, Romitelli, etc., useless and unnecessary.

High art is a place for passionate and contradictory freethinkers who challenge all conventions.

Premature compositions, intellectual miscarriages of mediocre minds, with which “creators”-conveyors seek to flood the academic domain are a hindrance to the qualitative development of our species.

MIND-REJUVENATING ART
Art that Challenges the Mind, Breaks Comfort Zones, and Demands Genuine Engagement

“Does every work of art have to carry a message?” — Answering the question.

Tatiana Gerasimenok: I prefer art that rewires the neural connections of the brain — that benefits me by getting it pumping. Uncompromising, powerful, and independent. Challenging and uncomfortable. Such art is created by geniuses — original and controversial freethinkers who, like gems, are very rare.

Art with a message is a waste of my time. I’m not a psychologist whom an “artist” pays to be treated like a toilet for unloading emotional baggage born of chaotic thinking and an immature mind. 

Let’s leave these banal and mass media-imposed “messages” — the kind that give birth to boring crap copied from one another — for kitchen talks with friends, and devote the audience’s lifetime to bringing them real value.