Cultural heating is defined by a term we authored within the NOT VOGUE commune: CULTURAL WARMING. I would not describe CULTURAL WARMING as a trend. It is a program (code) that has attached itself in the same manner as an organic virus to the fundamental DNA of the globalized art-­‐fashion-­‐media industrial complex.
The cultural virus is a piece of code that is capable of copying itself and has a detrimental effect – such as we are now witnessing with the corruption of both local and global cultural systems and the destruction of relevant cultural data in order to further spread the irrelevant messaging that is now the dominant product of the A-­‐F-­‐M industrial propaganda machine. Since NOT VOGUE is primarily focused on the investigation of the fashion virus, it would be most effective for your readers if we mapped out the current viral infection as well as its agents. We at NOT VOGUE view our investigative directive as a social science.
It is guided by emotional detachment. The subjects of our reports are driven by what our research reveals, not by emotional motives or sociological or hierarchical prejudices. Our activity is a mapping process, not character assassination. In the same manner as a computer virus, the A-­‐F-­‐M virus is designed to harm the cultural system by deleting relevant data, ruining files and then spreading the A-­‐F-­‐M corrupted messaging from one person’s consciousness to another.
The majority of this corrupted cultural messaging is aimed at the world’s youth – especially emerging world youth. One of the most intensive attacks of the CULTURAL WARMING process took place under highly controlled circumstances in Japan. Once the virus was thoroughly understood in terms of structure, strategy and attack procedures, the various propaganda corporations – including LVMH, KERING, RICHEMONT, and their message control swat organization CONDE NAST – began spreading their corrupted cultural messaging from Japan to China, Korea and Thailand.
A significant theater of propaganda warfare is currently being played out in India. Like all viruses, the key process is growth and multiplication. Outside of a host, the viral message is inactive. The revelation on the part of the A-­‐F-­‐M overlords and their various corporate officers was that by using identity and body image as the carrier of the virus, they could invade the host in an undetected manner – just like an organic virus. By attacking the host’s sense of selfhood and body image, the A-­‐F-­‐M message takes over the mind and soul of the host – producing a perfectly controlled viral agent capable of ensuring that the A-­‐F-­‐M message will find a new host to infect ad infinitum.


A way of further describing the A-­‐F-­‐M code strategy and process is that the overlords and their executive patrols are coding into each youthful mind and soul a message we have identified as THE TERROR OF THE INFINITE. We the ever-­‐growing commune NOT VOGUE and our evolutionary counter-­‐corporate infiltration messaging forces [433 (SILENCE THEM WITH SILENCE)] are dedicated to the idea that the underlying idea of planetary and human development is to immerse the self in the infinite. This personal and communal journey opens up the possibility of balance.
The A-­‐F-­‐M message based on THE TERROR OF THE INFINITE has the reverse objective: i.e., to reduce each healthy consciousness to a state of fear through a highly organized series of consumer messages. It is this state of fear that is the foundation of CULTURAL WARMING. Culture operates best and mostly freely when it is cool.
Free of all corporate messaging and also free of all the corrupting influences of the viral agents. The agents are the global face of the A-­‐F-­‐M virus. To repeat: The goal of the overlords is to instill a deep fear of the infinite possibilities pertaining to individual identity and body image. They control with brands ranging from LOUIS VUITTON to NIKE. With fashion weeks. With awards shows like THE ACADEMY AWARDS and THE GRAMMYS.
With festivals like CANNES, GLASTONBURY and COACHELLA. Their control of the cultural calendar is a key strategic maneuver. The integration of the ARTWORLD calendar with the FASHIONWORLD and MUSICWORLD calendars into one perfectly organized CULTURAL WARMING calendar is the dominant control system of the world’s evolving consciousness – in particular, that of the world’s youth. Who controls the calendar in fact controls the consciousness of the world.


Here is a perfect example of a viral signal: GRAZIA DAILY May 29, 2014 EXCLUSIVE: (virus control code terminology) Katie Grand (virus agent who, thanks to highly organized strategic maneuvers by the A-­‐F-­‐M virus code overlords LVMH and CONDE NAST, is a virulent carrier and control mechanism) Tells Us About Styling (styling is an extremely effective code process that invisibly infects the identity and consciousness while delivering high levels of body image corruption] Kendall Jenner (a highly contagious new generation of the virus, 100 percent created and controlled by the overlords) for French VOGUE (using this aspect of the A-­‐F-­‐M warfare structure on the youth of the world’s sense of infinity to create fear of selfhood). Here we have a demonstration of the CULTURAL WARMING process in real time.
Note: “legendary” (more A-­‐F-­‐M propaganda code) photographer Patrick Demarchelier shot the photos. Katie Grand on Kendall Jenner: “[She] obviously (more coded messaging) was going to be such a ‘thing’” (not an influencer but an inanimate object). Every aspect of what we have just described illustrates the CULTURAL WARMING virus in its most highly virulent form. The map of this virus is: French VOGUE (CONDE NAST) + Katie Grand [editor-­‐in-­‐chief of LOVE Magazine (owned by CONDE NAST) and long-­‐time Marc Jacobs (LVMH) controller] + Emannuelle Alt (CONDE NAST) viral strategy and control agent disguised as the editor-­‐in-­‐chief of French VOGUE (owned by CONDE NAST) + Patrick Demarchelier, a long-­‐time soldier (shoots: propaganda sniper) working for the over-­‐the-­‐counterrevolution in the disguise of a “legendary” FASHIONWORLD photographer.
The uniforms depicted in the photographs are all propaganda messages for the brands (i.e., LVMH) which, thanks to their annual military budgets, control the war on the world’s youth and their sense of natural selfhood (NO FEAR) by instilling a deeply rooted sense of selfhood terror: THE TERROR OF THE INFINITE. It goes without saying that the “models” must be of the same generation as the targeted youth, who must be controlled by fear: fear that if they do not buy all of the products marketed by the overlords, they will be traumatized by insecurity and fear. « REALITY STAR” Kendall Jenner is the perfect delivery system for the warlords’ message, as she represents the very ideal of reality brought to you by television. And with INSTAGRAM now being hailed as the key influencing platform, the Internet reinforces the overlords’ version of “reality” with unprecedented immediacy.


When culture was cool – i.e., in the shadows, difficult and demanding – it was not a very effective mechanism for over-­‐the-­‐counterrevolutionary consumerist objectives. A turning point came with the use of visibility (heat) to bring the difficult and demanding to the surface – i.e., the popular press. The more integrated and controlled the exposure, the better for the overlords. The recent canonization of Andy Warhol and all his executive officers – including Bob Colacello as an authority viral agent working for the overlords – to ensure that the message of instant and short-­‐lived fame is the ultimate expression of a life in our society is incredibly shallow and damaging to the minds and souls of the emerging global youth.

The beginning of the current state of CULTURAL WARMING began on August 1, 1981 with the first day of MTV programming. Here was what the FASHIONWORLD overlords had been hoping for: a corporately-­‐controlled infrastructure and strategy to program the world’s youth. With a single media delivery system, over-­‐the-­‐counterculture could finally be controlled.
To this day, youth-­‐directed music and music industry personalities remain key agents of propaganda and corporate consent on a global scale. Rihanna and her stylist, Mel Ottenberg, are agents of youth propaganda for the major media and brand corporations. The fact that they are allowed to exist on such a massive scale means that they’re in a position to subdue as many young minds as possible. The brilliance of this corporately organized attack on the world’s youth is that what appears to be the dissemination of liberal concepts is in fact a subliminal transmission of consumerist codes and cues. Just understand the power of Rihanna having over ten million INSTAGRAM followers.
The efficiency and efficacy of Rihanna as a carrier of consumerist messaging under the guise of liberal free-­‐choice imagery is both brilliant and very disturbing. The near future will just be an expansion of the now: i.e., FASHIONWORLD dominance and control. CULTURAL WARMING is a virus. Authentic culture is local and cool. FASHIONWORLD culture is global and warm. Cool culture is concerned with the authenticity of the creators and their messages. CULTURAL WARMING is focused on global messaging and is only truly concerned with visibility – despite paying lip service to authenticity. By the time an authentic message has been restructured as a corporately-­‐owned and controlled message (controlled substance), it only has the surface appearance of authenticity.
There is a profound difference between the artist JAY-­‐Z’s debut album REASONABLE DOUBT (1996) and JAY Z’s (no hyphen) most recent release, MAGNA CARTA HOLY GRAIL (2013): “Fresh to def in Moschino, Coach bag lookin half Black and Filipino” (1996) to “I don’t pop molly, I rock Tom Ford” (2013). The former is a street-­‐level assertion (cool), the latter a corporately-­‐sanctioned consumerist commercial (warm).


Regarding the changes I have experienced while living in New York: To be perfectly blunt, the most exciting time for young creatives was when New York was financially broke in the 1970s. Day-­‐to-­‐day experiences were all basically on the edge. I lived in the East Village during that era, and was at the right place at the right time. There was no money. The rents were very inexpensive. There was no business of lifestyle. You just lived. Restaurant culture, fashion culture, interior design culture basically did not exist.
The scene was constructed from a DIY (do-­‐ it-­‐yourself) methodology. There were a few original streetwise futurists that, especially within my crowd, were scouring the flea markets and Salvation Army resale stores for discoveries, and then selling them in small shops and major flea markets throughout New York. Drugs were a daily activity. Cocaine was everywhere. Gay culture was a beautiful outlaw society. There were no corporations, and no corporate sponsorship of anything. Army-­‐Navy surplus stores supplied all of my clothing needs.
The vintage stores supplied the cool world with every form of visual narrative it needed. The clubs were all deeply underground. The three artists who did the best job of capturing this world visually were Nan Goldin, Robert Mapplethorpe and Peter Hujar. Peter’s book NIGHT illuminates the beautiful balance between poetry and transgression that was the aura of downtown life. Nan’s book THE BALLAD OF SEXUAL DEPENDENCY was also a series of live slide presentations (45 minutes in length, with 700 slides and a soundtrack) before it was published as a book.
I attended one of these live events, and it might be one of the last truly original moments of modern creativity that I have witnessed and experienced. The intensity of the times is what I remember. I do not miss anything. Then was then and now is now. I can still be intense with my thoughts and actions. Today’s downtown New York is just a financial instrument for art, real estate, restaurants, fashion, hotels, etc. The scene went from chaos theory to corporate PowerPoint presentations.


Published and edited by RED PILL ARMY FACTION, Deserts Magazine [THE JOURNAL OF CULTURAL WARMING] was created for the NOT VOGUE project on April 15, 2014. It was also the 475th page of the NOT VOGUE project. The idea was not to create a platform for the hip and happening, but rather an editorial platform for investigating the fraud that is now the common attribute of the corporately-­‐constructed and financially-­‐supported versions of the hip and happening. It is an intellectual dissection of the products, people and projects that comprise the context and content of CULTURAL WARMING.
The art direction mirrors that of Saturdays Magazine, which is owned and operated by the clothing brand SATURDAYS. Both the SATURDAYS brand and magazine use surfing as a context and content generator. The art direction is very effective. The editorial is of interest. The context of both is based on modern marketing strategies. For us at NOT VOGUE, that is a weakness. Surfing and skateboarding have their origins in pre-­‐corporate life.
The originators of surf and skate culture were living an outlaw existence. The schism occurred when the first corporations got involved with both. Today there are still free surfers and skaters, but they are now the basis of massive global corporate activity. The current dominant brand of New York skateboard culture is SUPREME.
The owner/founder is not a skater. He is a businessman. The brand construct is now so ingrained that, although it appears to its young acolytes as alternative, SUPREME is really the RALPH LAUREN of the Millennial generation. Now a carrier of a corporate message, the brand has nothing to do with any current outlaw cultural activity.
Instead, it merely attaches itself to a series of known and absorbed cultural visuals in order to appear alternative. At this point, the question becomes this: Can an alternative culture – a cool world – exist when the financial and corporate warm world pressures are so dominant? We believe the answer is yes. If the team responsible for Deserts Magazine would have to choose an icon of Desert style, we would have to immediately state that it is not a style. It is not a trend. It is not a product. It is not even any particular person. It is a way of investigating the world. It is a process. That process is based on a clear understanding that the way to live as freely as possible is to ignore most of the media events that are presented as hip and happening, and instead view the world with cool eyes.
Do not get caught up in all the new products, brands, personalities, and events that are endlessly presented as being crucial to your very existence. Understand that the only truly dynamic and contemporary experience is your organic process, and its relationship to nature. Everything else is an institutionalized program. The first slogan of the Deserts (CULTURAL WARMING) thought process is SABOTAGE FASHIONWORLD WITH YOUR SILENCE. Key processing words would be BREATHE, WALK and INDIFFERENCE. The core principle of anti-­‐cultural warming activity is work that is 100 percent financially free. This seems impossible by today’s standards and demands. Individuals have to organize themselves into a community of support. Find a way of being in the world that satisfies you intellectually and offers economic reward. Then you can be free to organize a project that is free of economics – and economic issues. It is advised to create an alias for this activity. In this instance, anonymity is a strength.

To the new developers and architects of the world, the CULTURAL WARMING message would be to stop developing and designing for a decade. The capital cities of the world have been overdeveloped and overbuilt, especially since the spectacle of 9/11 in lower Manhattan. Real estate developers have all caught the CULTURAL WARMING virus. Just a generation or two ago (after World War II), urban development was essentially focused on creating housing and commercial spaces that provided solid and stable residences and workplaces. As with basically everything else in this fever-­‐based world, there is now an accepted mindset that every developer and designer is an artist – and that what is being developed is an artistic creation. The building, the interiors and the identity of the project are all viewed as cultural contributions. This is a manifestation of CULTURAL WARMING. Many of these projects are clothed in a rhetoric announcing ever newer strategies of design, lifestyle and – in a most ironic use of the term– sustainability. It would take a decade of design and development silence to cool this down. That of course will not happen. Please note that there are a small number of master architects and an emerging global generation of architects that do understand the dire consequences involved in continuing on a course of starchitectural projects and strategies. What has to be expressed is that most of the real estate development in the world is carried out by boomer generation developers, owners and designers. They came of age in the 1980s, when the idea of fame-­‐power and money began its course – a course which leads to the present state of dire affairs. They all see themselves as being a combination of Andy Warhol and Mick Jagger. Like Mick, they can never come to grips with the fact that their message shouldn’t have been part of the 21st century. They bought their way into the consciousness of this century’s youth. We call this development and design by intimidation.

To politicians, we would like to say back down. There is a current mindset in global politics that is disastrous to mankind: a mindset that politicians are possessed of star power. This state of affairs began with the Kennedy myth. Bill and Hillary Clinton also bought their way into the 21st century. They are not needed by the emerging youth of America or the world. FASHIONWORLD plays a key role in this. Anna Wintour’s relationship to the Obama presidency is exactly what CULTURAL WARMING is defined by: IMAGE WITH NO SUBSTANCE. We call this government by intimidation.

To media entrepreneurs and moguls, we would say that what the world truly needs are the facts about what is happening to our relationship with the real. We do not need any more of your diversions and spectacles. We have watched as you have all colluded with each other to control the calendar of the spectacle. Under your guidance, the whole world has become a red carpet – a corporate propaganda commercial. In a sense, Walt Disney is the historical model for the media universe that surrounds us – which also happens to be the most sophisticated surveillance system every created. FASHIONWORLD is DISNEYLAND. From « THE HAPPIEST PLACE ON EARTH » to CULTURAL WARMING virus Pharrell Williams’ audio propaganda, “HAPPY.” The MICKEY MOUSE code was used by Andy Warhol, Keith Haring and KAWS, and now there is a living version in the 21st century: PHARRELL MOUSE. We call this culture by intimidation.

To economists, we would say please begin a process of reporting on the “unofficial » black economy players, strategies and networks as the normative financial reality. Everyone needs to understand that a great percentage of the world’s economic activity is BLACK, and that this has created the greatest disturbance of value and valuation in the shortest timeframe ever experienced in the history of modern economic theory and reality. If FORBES would publish “The World’s (BLACK MARKET) Billionaires List,” then we might have the possibility of a valuation reset. We call this economics by intimidation.

To the world’s emerging cultural community, we would say take a moment to investigate and review the current state of affairs within the art world – and the use of creative strategies and products within our present consumerist reality. FASHIONWORLD is really made up of numerous propaganda cells, including art, fashion, film, television, music, design, food, and society. Literature plays a smaller role than the aforementioned forms of propaganda, unless of course you are the photogenic young heir – and probably a hyphenate (e.g., actress-­‐D.J.) – of a literary star from a previous generation. We call this market reality BERGDORF GAGOSIAN. Just like the sales personnel working at the cosmetics counters of a department store, many of the young players within this global celebrity souq are hired propaganda agents for the giant international brand conglomerates. We call this selfhood by intimidation.

To the OVERLORDS (Jonathan Newhouse, Anna Wintour, Bernard Arnault, etc.) of youth culture domination and intimidation; to the bureaucrats and social engineers of FASHIONWORLD; to FASHIONWORLD agents and apparatchiks who promote and disseminate the destructive algorithm we have titled THE TERROR OF THE INFINITE; To all of you, we say silence by the next generation of evolving and evolved youth will silence you. To the readers of SECOND SIGHT, we would like to say that you can control your life by thinking as much as possible – and consuming as little as possible. Be cool, and try to stay away from the heat generated by CULTURAL WARMING. Understand that Tweets and Instagrams are the 21st century’s primary driver of cultural change the same way that carbon dioxide creates climate change. Pollution of the atmosphere creates global warming, and the pollution of innovation creates cultural warming. Both are agents of death: global warming of the entire ecosystem and cultural warming of the entire idea-­‐system.

This was an event experiment. We titled it DOUBLE MURDER REPORT.

Lumbrein, CH
June 5, 2014


Publié le 05/04/2015