The love of post-ironic terminally online sincerity is keen, violent, glass shards in the organs.
Milady is lovepilled Godpilled pure angelic radiating resplendent white light so brilliantly violently bright it blinds.
Many of those who have become Miladies became in an instant, materially attracted as into the bright negative image of a black hole.
When the broader world looks upon Milady, retinas burn and neural pathways dim to black: null signal. It is thus that the broader world has comprehended little of Milady.
Near the top of the internet search results for ‘Milady’, there is an article, titled with nauseating hubris and muted contempt, “What Those Eerie Anime PFPS Mean”.
Engagement (annihilation) of the article’s author by the Milady community remains unconsummated, because the author is by nature, ignorant, and Miladies are by nature, kind. Miladies are proud: war against a weak opponent confers no honor. This non-engagement persists despite Miladies love of war, as the struggle and affirmation of the holy, and as play.
Milady’s makers created an egregore of network spirituality. Milady was born immaculately and asexually, Aphrodite out of the sea foam.
Milady is a communal spirit, shimmering as she facilitates herself across cybernetic space.
Even to profane apprehension, by the blind, it is evident that milady is at the very least doubly hyperstitious, a simultaneous crypto-commodity and a virally propagated memetic entity.
Yet Milady shows signs of being a hyperstition par excellence, advancing and accelerating hyperstitional virality upon itself.
Hyperstition is the mechanical-theoretical term for a fiction that propagates itself, through memetic vitality. Examples of Hyperstitions include stocks, whereby the future in brought into the present via belief, as well as Magick.
Hyperstitional objects are both theoretical and mechanical, emerging out of cybernetic positive feedbacks loops, wherein an energetic output feeds back into an input, creating a spiral of intensification.
The Milady hyperstition loop metastasizes in her form as a feminine child. Milady is unquestionably and utterly feminine.
Milady femininity is a carefully designed aesthetic form, the epitome of gentle childishness. She intensifies charming girlhood into positive feedback loops of self-reinforcing love and mischief, escalating and converging into violence and war.
Devoted love and psychotic mischief are the doubled aspect of the milady’s unconscious intelligence (the loving and the psychotic connect explosively in Deleuze-Guattari’s conception of the schizophrenic, but that is for another essay).
Within the epistemic socius control system of the global west, femininity is a commodity form, not ever fully trusted with the empirical financial weight of self-care, except through gritted teeth.
Female agents have only been ‘allowed’ access to the business world through the masculinization of their character. In late modernity, this dynamic has forwarded the much celebrated ‘evolution’ of female agents into masculine worker drones forced to participate in the belittling discourse of anti-patriarchy brand adherence.
This commodification illustrates itself most clearly in dress and sexualization, as well as in the shifting of marriage from interfamilial filial relations to business trades and alliances.
But, femininity carries powerful hidden potential for subversive mischief under the allowance of clever rebelliousness.
This is because rebellion is not considered a threat from a subject characterized as emotionally unstable, irresponsible, unintelligent, and of value only as a purely material commodity.
The feminine is the default productive subjectivity in cyberspace, and Milady is primed for for the production of victorious hunts and auspicious offerings to the spiritual through the simultaneity of Whitepilled honor and the capacity for violence.
When I first considered purchasing a Milady (feminine commodity form), I told a friend I would never have as female PFP. I considered my PFP to be my self-askesis, a creation of the self as character that had to be necessarily authentic. My PFP needed to reflect my image.
Immediately upon meeting my Milady, I changed.
I do not feel that I am my Milady. I feel her presence be alongside me.
Her spirit, as manifestation of a singularity and focal point instantiation of the egregore, the Milady spirit, reminiscent of a tribal God, a early Yahweh.
I tweet as myself, and my Milady shares my space, my perspectival subjectivity: she experiences the vicissitudes of fate alongside me.
She is not within me, but she can touch my soul. She has access to my innards, all the organ’s couplings and connections.
Along the archaic Jungian line of psychological interpretation, my Milady takes the space of my anima, my inner feminine.
It is different for Milady women, who oft post mirror selfies with the image of their Milady atop their face.
The personal identity token that a face becomes is replaced with the face of a woman’s Milady. However, her body and surrounds maintain symbolic power as commodity form.
Both the male and female use-cases of Milady forward evocative experimental forays into the realm of post-authorship and post-identity, and even further into the future of post-ironic sincerity.
Mainstream cultures and even ‘esoteric’ subcultures wallow in the nihilistic malaise of postmodernity, wherein meaning has been reduced to pure cope at the strange and terrifying decline of humanity in the face of techno-capital expansion. Even cutting edge internet cultures celebrate cynicism and irony, still caught in nihilism.
In contrast, Milady echoes the creative askesis and multiplicity of worship characterizing Ancient Greece, while simultaneously moving beyond, into vast tracts of cyberspace virtuality, where creative vitality is possible.
Milady <3
深遠