Today, the greatest concentration of normies is found within contemporary classical music — a domain pushed beyond the margins of cultural competition and abandoned on the roadside of historical movement.
While the living resources of civilization are channeled into new technologies — and, as a result, today’s Beethovens and reformist geniuses are drawn into these fields — contemporary classical music remains frozen in a state of conservative stupor.
It exists under conditions of chronic poverty, having lost both its pulse of relevance and its connection to reality. In the vacuum created by the absence of genuine rivalry, it stands like an abandoned castle of former glory, overrun by parasites and the spongy mold of institutional inertia.