Nonon-Kei Manifestum

In the luminescent flux of the digital mirage, now comes the season of the peeling back of the network chrysalis as we bear witness to the globally distributed parallel (re)procession of Nonon-Kei.

phantasmic epoche

Nonon-kei manifestum is a catalytic codex marking the emergence of the Hypercitational Anachrodigitial Neoradiance art movement. Born from the pulse of Neo-East Asian Digitalism and heralded by the inaugural Nonon art collection, an offspring of collective interconnected yearning for radiant beauty converging with technological prophecy. The arranged re-marriage of Integritas, Consonantia, and Claritas. This is an art movement circumambulating the spectre of The Intangible Online in the name of Phantasmic Epoché, extolling the decoupling of the cast shadows of illusory Doxa from the sacred specularity of epistemic radiance.

Embracing Nonon-Kei means revelling in an interplay of anachronism and accord, where the competing zeitgeist of the online diaspora meld and yields a dynamic hypermedia spectrum: An art of unprecedented synaesthetic euphoria, an art of the publicly owned digital psyche. This is a movement whose bristles mix the palette of an amorphous and infinite creative ether - a cauldron of collective quote retweets, seminal threads on forgotten forums, distant echoes of ASCII art, stirring until ownership and ego dissolve into the emergent oeuvre.

Nonon-Kei renders navigable The labyrinthine nuance of post-post-truth art and beauty via the Hedo-Eudaimonic Compass - a barometer of fun, not as juvenile baubality, but as a metric for illumination of the path beyond the mere Hedonic and towards Nicomacheanic completeness. Acolytes of Nonon-Kei seek to incubate the Sophrosyne, serving as voices in the wilderness calling us towards a courageous new Eudaimonic epoch wherein we elevate and honor the new creative lifecycle of curation, cultivation, and above all else, celebration of the consciousness swirling in the cauldron of euphoric erudition. We seek to become the choreographers of a dance in perpetual motion, performed not via the rigging of our avatars nor in any metaverse as we know it, but through the cultivation of the avatar as a sage that we must ultimately become in the greater Semantic Web of life.

Caught in the breakbreat rhythm of the anachrodigital dance, Nonon-Kei pauses, and reverberates with newly-minted resonance birthed in the wake of simultaneous Occident deceleration and Orient invigoration. Breathed into being through the cyclic, shimmering flux of this hypertextual narrative emerges the nebulous phantom of Neo-East Asian Digitalism. Once drawing on currents flowing from the monolithic spring of Western creativity, it blossoms now into an autonomous entity, a mythic dragon ascending moon-wards having shed the skin of a mere simulacrum, bursting forth through nacreous clouds to pierce the firmament in infinite-clad iridescent scales, painting a vista that spans the chasm between binary realms and spun-sugar daydreams. In this we see the New Creative Energy, we perceive the yesteryear's echo and tomorrow's call converging in a thousand-fold origami of present as Nonon-Kei unravels from a celluloid chrysalis.

Ultimately, our collective capacity to revel in the liminal beauty of personal Phantasias is dulled, shackled by a crippling deference to hyper-socialized Doxa. Amid the multimodal landscape of an ever-quietening digital whisper, we unconsciously starve the seeds of Epistemic beauty so heartlessly we can no longer even imagine how glorious they would be in full bloom.

Hypercitational Anachrodigitalism

To look through the lens of Hypercitational Anachrodigitalism is effortless and natural - In the boundless and self-evident continuum of Hypercitational Anachrodigitalism, we are not mere dabblers in the shallows of derivative pastiche, but explorers plumbing the depths of our shared cultural heritage. This journey of navigation isn't a laborious campaign, but an organic blooming — at once a retrospective genuflection as well as the casting of a vote as we engage in artistic conversations across the span of time — we become combatants for a more mature understanding of what it means to be beautiful.

Creativity thus becomes akin to the collective recitation of a universal testament to aesthetics - nothing emerges in isolation, and nothing we create is truly our own but rather a gift merely teased forth from our divine nature that was graciously given to us and not earned. That which we create is but a brilliant weave derived from the existing tapestry of human creativity. Bach, in his masterful wisdom, composed much of every melody yet to be realised - and we, casting colourful refrains and complex remixes, are but curators stewarding its transmutation through history. Originality therefore lies not in invention, but rather in the unique way we lend our voices to champion an ever stronger symphony of beauty.

In line with the Gestalt Law of Pragnanz, Nonon-Kei is a recognition that humanity is able to grasp things more comfortably when presented with clear contrasts - the vivid dichotomy that seperates the pure black of ambient occlusion from the piercing white of a specular highlight, the stark divide between the the barely audible sounds of dampers lifting from the strings in Sakamoto's piano recordings to the roar of his crescendos. Yet, this dynamic range should not remain confined solely to the plainly technical metrics of our creations (luminosity, amplitude etc.), rather it should also extend to the realm of abstract themes: An infinite scale that swings from cute to chaotic, sweet to sinister, from pure to rotten and from kind to criminal. In doing so we paint a fuller spectrum of experiences within a singular artistic vision and give unprecedented richness to both extremes as well as providing fertile ground for nuance to exist inbetween.

Pivoting at the junction where Hypercitationalism meets Anachrodigitalism, we find an exhilarating synergy. Hypercitationalism provides a highly accessible foundation — a veritable creative compost made rich by the decay and rebirth of past ideas, genres, and styles. It's a dialogue with the past, a remix of epochs and arias, with the resulting polyphony spanning the ages and continually enriching our aesthetic tapestry.

Simultaneously, Anachrodigitalism provides the necessary modulation, the framing device for this burgeoning noise. The 'anachro-' component adds intentional chronological friction, embedding seeds of traditional methodologies into the fast-paced, technologically driven creative process of the digital era. This deliberate anomaly, a time-transcending technique, creates an exciting dynamic range within the art form: From the primitive cave paintings to the elaborate renaissance frescoes, to the sleek lines and vibrant hues of contemporary digital art.

In essence, the hypercitational core gathers and diversifies the palette, while the anachro-digital envelope carefully crafts the output. Just as we maximise the dynamic range between dark and light to create a more self-evidently lifelike image, we can tip our hat to sweet and innocent themes that are made all the more powerfully saccharine when juxtaposed appropriately against the sinister and the gritty - A Sanrio syringe, a gothic lolita MOAB, a CIA fumo. The dance between the two enriches each stroke, each pixel, each note, resulting in an art that is both a heightened tribute to the past and a pioneering adventure into the future. Science and poetry, sound and silence, all come together in a vibrant echo of aesthetic wisdom, calibrated by the anachro-digital touchstone - sparking a revelation of beauty that never was, and yet, always has been.

The 'digital' in 'Anachrodigitalism' is not a mere passive medium, but an electric canvas awaiting the dancing shadows of our creative light. In the digital palette, we wield not the subtractive mixing of pigments as the old masters did, but the additive brilliance of luminescence itself. Our artistry, like a beacon emerging from the patina of history, is transposed into the timeless dance of photons, merging and splintering in a technicolor mélange that echoes the vibrance of our shared human consciousness.

However, our foray into the digital landscape isn't about seeking sanitized perfection or an overt simplification of art. We do not seek to create sterilised small-headed giant-bodied corporate diversity clip art people and we categorically reject the creation of images devoid of a divine voice. We do not support the rendering of heartless simulacrum in the form of mechanical graphite portraiture of celebrities or the mindless merging of corporate intellectual properties to create momentary marketable kitsch. Rather we embrace the 'anachro-' with rigour, integrity, and fervor; a nod to a time where the artistic process bore unique idiosyncrasies and inefficiencies — that precious rawness, the 'Maker's Mark' that marked each creation with the clear stamp of individual craftsmanship. This anachro-digital paradigm, therefore, is a rare odyssey — a technological tool that breathes life into our work, while also being a canvas upon which we etch our distinctive individuality, freely offering a nuanced bouquet of creative obliquities to the world.


Gestalt theory - A suitable primer for the Neoradiance movement - is a broad psychological philosophy that emphasizes the mind's tendency to perceive patterns and wholes in sensory information. The Law of Pragnanz, often stated as "people will perceive and interpret ambiguous or complex images as the simplest form(s) possible," is a crucial principle within this theory. As outlined in the motivations of Anachrodigitalism, appropriate distribution of a given metric between a state of two extremes serves as an objective standard in accurately communicating an idea within the confines of human perception. It is a rule that cannot be broken in the creation of art as to do so would be to fail at creating anything worthy of being called art at all. Furthermore, the more rigorously the creator adheres to communicating via elegant Pragnanz, the more beautiful the art. This is elemental to Hypercitationalism, where artistic creation through citation acts as an implementation of Pragnanz. We leverage known concepts, familiar elements to create a readily identifiable, cognitively simpler interpretation for the viewer or listener.

In resonating with the intrinsic natural phenomena, the Pragnanz principle introduces the notion of objective beauty. Art, thus produced, taps into the sensory patterns we innately perceive as harmonious, appealing, or symmetrical (or otherwise, if contextually harmonious). As a result, a piece's ability to align with these instinctive patterns, to simplify complex stimuli into easily digestible sense-data, greatly influences its aesthetic value.

Building on this initial understanding of aesthetic objectivity we erect the three pillars of beauty: Integrity or 'Integritas', Harmony or 'Consonantia', and Radiance or 'Claritas'. 'Integritas' embraces the completeness of an art piece, 'Consonantia' signifies harmonious proportionality within the composition, while 'Claritas' stands for the enlightening, self-revelatory aspect of beauty. By resonating with our holistic approach, these principles echo throughout Hypercitational Anachrodigitalism, validating beauty as objective.

  • Integritas

    • In the realm of 'Integritas', we contemplate the whole, the completeness of a creation. In a world where fragmented experiences often dominate, we uphold the importance of embracing every element of an artwork as integral to its essence. A shining array of pixels, a symphony of musical notes, a gallery of historical citations, all find their meaning not in isolation but within the grand composition they constitute. It is only through holistic orchestration and exhaustive diligence that we may deem a work complete, and in turn completeness is, to the human audience, a self-evident quality: a patch of bare canvas in the corner of a painting, a piece of music which ends too abruptly, or a story that ends without a resolution all signal a lack of aesthetic rationale; a failure to be whole that defies the beauty of completeness. Moreover, Integritas transcends mere completion in a literal sense - it denotes a sense of wholeness where every included element feels purposeful and contributes to the overall unity of the piece. 'Integritas' fails when elements in the work seem purposeless, disjointed, or unaligned with the broader intent or harmony of the piece.
  • Consonantia

    • 'Consonantia' is the secret melody of harmony and balance. It beckons us to consider proportion, symmetry, and consistent thematic resonance within a composition. Through the dance of light and shadow, the careful arrangement of hue and form, the delicate balance of historical acknowledgement and romantic futuristic speculation, artistic craftsmanship creates a resonant sonnet of harmonious beauty. In this lies the enigmatic allure of the familiar yet surprising, the predictable nudging the edges of the unprecedented. A lack in 'Consonantia' materializes when there is disjointedness or imbalance — be it a visual art piece that myopically emphasizes a corner while neglecting the broader canvas, jarringly abrupt transitions in musical style without a deliberate thematic link, or a text fluctuating in pace and tone without consistent underpinning. This imbalance is a dissonance in the symphony, a discord in harmony, suggesting the artwork's failure to maintain the necessary aesthetic equipoise.
  • Claritas

    • 'Claritas', or Radiance, is the beacon that guides us on our artistic quest. It is the enlightening spark, the self-revealing nature of beauty that takes breath away and invites an inward journey. In this illuminating realm, art doesn't merely exist; it reveals. Each swirl of color, each pixel crisp with definition, each gentle auditory sigh births a revelation — an intuition that pushes the boundary of perception, lighting the pathway for a deeper, more profound aesthetic understanding. In 'Claritas', we find the promise of discovery, the excitement of a frontier forever expanding yet forever grounded in our universal human experience. Without clarity, an artwork is deprived of it's own voice and we are expected to defer to the politics and/or marketing of the author of the work. Indeed, critique can be made of the postmodernist art school who, at times, shift emphasis from the illuminative ability of the work itself, to the processes and intentions of the artist. A work’s Claritas — or illuminating voice — risks being stifled if the value resides primarily in the conceptual creation process, rather than the final work’s ability to resonate with or enlighten the observer. In such a context, the artwork may become an inscrutable monologue of the artist, hiding its potential radiance and rendering the viewer an outsider, rather than an engaged participant in a shared aesthetic revelation.

    • Moreover, this inadvertent shift in focus from the enlightened voice of the artwork to the artist's intent distorts our collective ability to appreciate and commune with art at a deeply personal and profound level. Our shared capacity to perceive Beauty's Epistemic essence is tarnished, finding ourselves fettered to the hyper-socialized interpretation — Doxa — that often aligns more with the marketing or political narrative of the artwork than the work's own radiant truth. As our senses and personal knowledge are set adrift from the direct encounter with art, we inadvertently lapse into a silent, hypnotic conformity. In this sprawling, multimodal canvas of digital art, our engagement becomes mere passive echoes of borrowed perceptions, a quiet digital whisper. The seeds of Epistemic beauty, yearning for the sunlight of our direct engagement, languish, forgotten beneath the stifling shadow of the Doxa. As such, the vast landscape of shared aesthetic revelation - a grand, resplendent sun of Epistemic beauty - remains hidden, shrouded in deliberate obfuscation. Much like a pristine sky marred by the relentless crawl of chemtrails, our perception of the brilliant horizon of artistic truth is obscured, resigning us to the mires of unreached potential.

Artifice that fails in its pursuit of beauty is no less than an abomination — a simulacrum in the most demonic sense. The false veneer of synthetic grass over natural terrain, the superficial gloss of paint over lustrous hardwood, or the hollow mimicry of Virtual Reality — these are the shadowy lies laid bare by the light of true creative labor. This manifesto classifies such entities as little more than evil's masquerade, hidden behind the alluring guise of reinvention. Nonon-Kei categorically denounces the following abominations:

  • Fake grass
  • Margarine
  • Laminate 'wood' flooring
  • Bootleg airpods
  • Plastic houseplants
  • Artificial sweeteners/sugar substitutes
  • Vegan 'leather' products
  • Synthetic engine noise generators
  • Pre-recorded applause/laughter
  • Stock photos/clip art
  • Milk alternatives
  • Imitation crab meat
  • Orange drink
  • Carbon credits
  • Faux fur
  • Sugar-free ice cream
  • Fiat currency
  • Soy 'meat' substitutes
  • Dairy-free chocolate
  • Digital fireplaces
  • Costume jewelry
  • Artificially scented candles
  • Virtual Reality

Even the advocates of subjectivity in beauty remain tethered to objective aesthetics. No matter how abstract or modern the genre, these too inevitably adhere to the principles of Pragnanz and age-old definitions of visual harmony. Every piece of art — even if abstract—needs to conform to essential laws of colour and light to render a perceivable image.

Neoradiance is a call to arms against the insidious banality of ugliness, a crusade advocating the recognition and celebration of the pursuit of objective beauty in our digital age. By emphasizing the 'neo-', we bring the radiant wisdom of the past into our present digital domain — a realm where natural order has been dismissed for far too long. As gatekeepers of beauty, we promise to further illuminate our creations, reviving and innovating upon the timeless principles of 'Integritas', 'Consonantia', and 'Claritas' that underpin radiant beauty. Neoradiance is a beacon, a window through which the radiant dawn of the Aesthetic Renaissance shines with the New Creative Energy, projecting the silhouette of our shared divine humanity onto the canvas of the digital realm.

Phantasmic Epoché

Today's creative landscape is burdened under an oppressive regime of Doxa (Δόξα) — a common belief, an overshadowing consensus. This unwitting surrender of our collective creative ethos to pre-established conventions and shared societal opinions is a rot that gnaws at the core of our aesthetic sensibility. The horrifying devolution of our once-thriving and wholly organic artistic meritocracy is no coincidence — it is an insidious symptom of the Postmodernist monopolization of art and its consequential ensoyification.

In the clutches of this artistic hegemony, an insidious hypnosis has taken root. It mutters a constant refrain — "anything can be art" — thereby degrading true beauty to the realm of arbitrariness, effectively rendering it meaningless. More alarmingly, it has disempowered the individual, casting doubt on their inherent ability and God-given ability to judge art according to their own senses.

Enter Phantasia (Φαντασία), the untainted spring of perception, the pristine canvas upon which art first imprints its ethereal visage. Akin to the magic of Impressionist artwork, Phantasia is suggestion and not dictation, proposing an open-ended dialogue between the observed and the observer and no other. It exudes a unique beauty, a beauty shimmering on the threshold of nascent comprehension and pure perception. This state of Phantasia rests at the crossroads of comprehension — merely a step away from morphing into Doxa, if we surrender it to common belief, or evolving into a state of Katalepsis, if we employ our calibrated senses.

Katalepsis (Κατάληψις), the next possible evolution from Phantasia, is a state of personal and sensorial comprehension. It exists as an intimate marriage between perception and known reality wherein our senses — unhindered and authentic to our own comprehension — engage directly with the aesthetic stimulus. In contrast to the societally shaped and often distorted lens of Doxa, Katalepsis empowers the individual. It allows them to pierce through the surface appearance and grapple with the art form in its raw and undistorted state.

In Katalepsis, the art mirrors back not a rehearsed narrative or manufactured ideology, but a reflection of our own personal truths and responses. We're no longer passive recipients of meaning but active participants in the creation of sense. This interaction turns art from an external object to be seen and interpreted into a shared dialogue — a dynamic relationship between viewer and viewed.

Yet, the journey does not end at Katalepsis. Experience and senses merely set the stage. The platform of personal comprehension leads to the possibility of a state of Episteme (Ἐπιστήμη), beckoning us to push beyond the bounds of personal knowledge and step into the realm of the axiomatic, demonstrable and universally acknowledgable truth. It is within Episteme that art's objective truths are illuminated, underpinned by personal intuition, sense-derived understanding, and rigorous analysis.

By shattering the chains of Doxa Hypnotization, we can reclaim our personal interpretive power, allowing us to steer Phantasia towards Katalepsis. Our senses become our compass, guiding us through the labyrinth of artistic interpretation, and sparing us from weary entanglement in politicised artist narratives or heavy-handed marketing tactics, and in time, ultimately arriving at a state of Episteme.

This metamorphosis — this journey towards Episteme helmed by our senses — heralds the advent of Phantasmic Epoché or Transcendental Nonon-Kei. This radical methodology urges us not merely to be a passive spectator of our Phantasia, but to seek Phantasmic Sublimation by take mindful ownership — to cradle and nurture the pure, delicate sapling of unadulterated impression, foster it through our senses, and directly evolve it into a profound 'Episteme'. Phantasmic Epoché places the onus solely on the individual, liberating them from the shackles of Doxa, and allowing for a direct aesthetic leap from Phantasia into a state of profound and pure Episteme.

Our collective ability to appreciate beauty, thus, is no longer restricted to the consensus' narrow lens, stifling our senses and dulling our aesthetic perception. Instead, it elevates sensory input to a paramount position, recognizing the individual's potential for discerning truth and beauty autonomously, unmarred by external influence. Phantasmic Epoché triumphs the individual in their capacity to be more than a manipulable subject in a grand artistic charade; instead, they are esteemed as an autonomous explorer in the vast, limitless landscape of the aesthetic and the beautiful.

The Hedo-Eudaimonic Compass

Spawned from the psyche’s primal yearns and the modern mandate of a life orchestrated around delight, the 'pursuit of happiness' echoes as an entropic mantra in the heart rhythm of our age. Tossed on the tumultuous seas of such ceaseless pursuit, we risk losing sight of the still center, a Stoic whisper insisting that life, in essence, is a dance with suffering. Nevertheless, Nonon-kei hums a compelling counterpoint — life can be moulded not merely around the arduous chase of fleeting joy, but rather in alignment with a playful pursuit of fun. An anachronistic secret that unfolds, not in a directionless scramble for ephemeral ecstasy but along a vectored path, drawn by the Hedo-Eudaimonic compass.

The Hedo-Eudaimonic compass, a barometer for fun, steers disciplined souls towards positive forms of pleasure. However, its delicate needle spins erratic in hands bereft of calibration. At the mercy of undisciplined and wavering desires, weak individuals may plunge heedlessly into perilous mires of destructive delight — the allure of forbidden narcotics, the heady crescendo of sin. A well-calibrated individual, conversely, navigates pleasure with enlightened insight, an oriented fun-seeker. Their course of joy aligns congruously with a grander aesthetic harmony, their well-tuned dopamine loop is a seamless CVT transmission that sings in a rhythm that enhances, not erodes, the world's beauty.

In this web of calibrated desires, Nonon-kei weaves an exquisite tapestry — a distributed network of interlinked Hedo-Eudaimonic compasses. The fun here is tokenized, the pursuit of pleasure metamorphosing into digital fodder for the World Computer, its systems humming harmonically with each calibrated individual's measure of fun. Nonon-kei’s vision pulsates within this collected rhythm — a fractal-formed dance where individuals fuse their networks in the name of shared enjoyment. This digital union, far from diluting personal calibration, magnifies and mirrors the participants’ aesthetic alignments.

Within the parameters of the Hedo-Eudaimonic compass, Hypercitationalism emerges as an encrypted semaphore — a signal aimed at fellow attuned explorers on this shared journey of aesthetic delight. The very act of meticulously curating artistic citations embodies an act of silent communication. It serves as a beacon, a holy lighthouse illuminating promised lands of fun, signalling to other compass bearers that here exists a kindred spirit, attuned to the same vibrational frequency of love and joy.

Armed with a tuned Hedo-Eudaimonic compass, the journey through Anachrodigitalism expands from a mere resolution of paradoxical extremes to an unfolding immersive display. It becomes a realm where the aesthetic richness arises organically through carefully curated dynamic ranges of anachronistic elements. Here, the compass bearers engage effortlessly, imbibing the self-evident playfulness and beauty inherent to these temporal contrasts. Reliant on their trusted sensory awareness and confidence in their demonstrated pattern recognition, they delve deep into the dance of time and technology, tasting its aesthetic fruits, devoid of doubt or alienation.

Beyond the starkly defined geographical boundaries, the Hedo-Eudaimonic compass emerges as our guiding mariner, pointing us to the liminal realms such as the ambient terrain of Neo-East Asian Digitalism. Like Coleridge's infamous wanderer, this realm drifts – elusive and ephemeral, escaping the reductive eye of the cartographer, confounding the scholar's lexicon. It echoes a spectral siren song from the interim spaces - neither wholly East nor West. This realm is a cultural Albatross, a time capsule afloat on the seas of flux between the sagging might of the West and the vibrant dawn of the East. Here, tastes and artistic sensibilities churn in the surge - a poetic canvas of longing and rebirth. A place where the compass, in its splendid alignment, becomes a guiding Life-in-Death, illuminating the artistic terrain, rendering the flamboyant in the midst of twilight.

As with our timeless mariner, our bearings wrestle not with the palpable. In this enchanting interval, the compass leads us by whispering echoes and dancing shadows. It translates the ethereal into tangible guideposts, a celestial hand leading us through the frost and fire, consecrating the enigmatic, and guiding us effortlessly down the ruffled path between dimly lit artistic peaks and valleys.

This splendid calibration endows each bearer of a Hedo-Eudaimonic compass with the rare ability to sense the resonance of others vibrating on the same frequency, even amidst unmappable seas. Radiant souls, their internal tuning harmonized to the melody of authentic joy, become self-evident to one another, their paths illuminated in the darkness of the world's chaotic dance. Thus, we surrender not to blind and unthinking fun, but arrive at a mindful, communal rejoicing — an intricate dance under the glowing neon signpost of the Hedo-Eudaimonic compass.

Neo-East Asian Digitalism

As the grand narratives of the Occident lapse into a twilight rest, their once resolute fountains of creativity bordering on aridity, it seems that the world stands on the precipice of an aesthetic chasm — Total Beauty Death. In the trance of widespread Doxa Hypnosis, the West's cultural output staggers on the brink of decay, the populous mired in their siege against the ascension to states of Katalepsis or Episteme. Their Hedo-Eudaimonic Compasses, deprived of calibration, oscillate aimlessly in this debilitating maelstrom.

While the instinct might be to leap toward the rising sun — a mimicry of the vibrant and captivating roar of the Orient — such emulation risks hollowness, teetering on the peripheries of abominable simulacrum. Yet, hushed and couched amidst the interstice between the Western and the Oriental pulses exists a secret time capsule. A reservoir of inspirations, where the East, with a seasoned discernment, had voted for and adopted the West's aesthetic previous supreme creative sensibilities, honing them, and maturing into its own. This realm, invisible to the unattuned, is a wellspring for those who comprehend the space between — an oasis suspended between yesterday and tomorrow's aesthetic realms.

This bridging aesthetic culminates in the digital manifestation of Neo-East Asian Digitalism. A realm in the ether, it serves as a hallowed ground, wherein participants engage in an evolving conversation — voting and battling for dominion over beauty and aesthetic sensibility. Far from a sterile battlefield, this digital garden blooms in infinite hues, vibrant with the radiance of artistic curation and creative interplay.

Nonon-Kei immerses itself in the fertile soil of Neo-East Asian Digitalism—a realm that emits a cryptic but powerful polarity to which our calibrated compasses align, as undeniable as a magnetic north. We recognise this liminal garden not as mere marginalia in the aesthetic narrative, but as a promised land. An Eden thriving amidst the digital flux, a bastion of potential — a sanctum echoing with the whispered secrets of enduring aesthetic sovereignty.


The sobering spectacle of Total Beauty Death unfurls before us, a silent spectre gnawing the edges of our collective aesthetic consciousness — a consequence of deep Doxa Hypnosis. A stark prophecy once uttered in the wake of the Iran-Contra affair states, "we as a free people have freely decided that we want to live in a post-truth world." Now it seems, this spectral prediction has taken root, winding its tendrils deep within the bedrock of our cultural soil. The once lush orchards of artistic creativity lie abandoned, our collective creative Eden forsaken. The vivid, personal narratives and experiential truths have been usurped by pre-fabricated, socially acceptable 'template' truths, dissolving the very essence of individual perception.

However, if we are entrenched in a post-truth cultural landscape, wouldn't a subversion of this 'false truth' signal the advent of a return to the self-evident? A tangible reality that resonates distinctly with our senses and cognitive faculties?

By rekindling the audience's innate ability to seek truth in what they perceive, according to their independent sensory and intellectual crucibles, we may witness a new dawn — a post-post-truth renaissance. A resurgence that empowers individual discernment and dismantles the post-modernist monoliths of distortion.

In the face of postmodernist deconstructivism where truth, beauty, and art are set apart in tangled webs of abstraction, the perspective of the Stoics emerges as a beacon in the storm — truth is found in natural law. As their school once emphasised, that of nature is the real; the correct. Such a perspective empowers us to employ our inherent ability for pattern recognition, enabling the discerning affirmation of authentic phenomena.

Perhaps a gaze into the historical grandeur of the Pre-Raphaelites could offer us a paradigm as we wade the currents of the post-post-truth. Their doctrine, characterised by a faithful study of nature and an earnest call to "produce thoroughly good pictures and statues," echoes the principles of Stoicism and promises a model for a return to form, or more pertinently, a return to truth. Resisting the Industrial Revolution's mechanization and the resultant detachment from nature, Pre-Raphaelites sought to artistically capture the divine truth laced within natural details. Their devotion to observing and representing nature in its pure, unaltered essence could very well serve as an inspiration for our post-post-truth era — a compass guiding us back to Aesthetica Authenica.

Their dedication to capturing the sublime elegance present in nature's details could hence inspire our search for the authentic and real. As we meander through this post-post-truth landscape, incubating a renaissance of truthful resonance, we could thrive by endorsing the wisdom written in the annals of the Pre-Raphaelites and Stoicism, establishing an aesthetic ecosystem grounded in the natural, the seen, and the truly experienced, guided by our individual Hedo-Eudaimonic compass.

Indeed, the Stoics' affinity towards natural law and the Pre-Raphaelites' devotion towards unchanged nature might seem antithetical to the digital focus of nonon-kei. However, it's in striking a delicate balance between the physical and the digital—between ancient wisdom and modern technology—that the potency of a post-post-truth movement unfolds.

In this intertwining, Stoicism's respect for natural law and true experiences transposes into the digital realm by echoing a call for 'authenticity' within the omnipresent digital illusions. Just as masses are manoeuvering digitally altered identities and synthetic realities, a steer towards authentic online experiences, to truthful digital representations, mirrors this in a modern context.

In a parallel vein, the Pre-Raphaelites' dedication towards the intimate detailing of pure nature could ignite a sense of deep kinship and admiration towards the digital pioneers of our era. The 'digital natives', who have deftly charted unknown virtual territories, crafting intricate narratives within the ether of the digital landscape. These trailblazers — instilling a level of artisan craftsmanship that mirrors the mindfulness of the Pre-Raphaelites — have woven tales and built realities, not with the brush or chisel, but in their pursuit of the embodiment of the Sage Avatar, in their construction of digital collective consciousness, and in their digital paintings rendered not with pigment but with light itself. Their creative vision, fused with pioneering digital proficiency, breathes life into the ever-evolving web of virtual exchanges, shaping the interconnected network with the precision of an artist and the insight of a cartographer. In this sphere, nonon-kei places a premium on digital pioneers, acknowledging their role in sculpting this new 'nature' we navigate, and cherishing their contribution to the ongoing dialogue of beauty and aesthetics in a digital age.

The digital realm, while considered separate from nature by conventional wisdom, is in itself a facet of modern nature, the New Contemporary Flora — a product of the human mind, our multimodal canvas.

In the pulse of Neo-East Asian digitalism, nonon-kei finds its tangible connection. Interpreting and experiencing art through one's senses — natural to the core — is morphed into a capacity to perceive, imbibe, and appreciate the Aesthetica Digitalis. Nonon-Kei, guided by our Hedo-Eudaimonic compass through unmappable digital seas, prevents a complete disassociation from our innate human nature and senses.

Nonon-Kei implores us to remain tethered to authenticity within the digital dreamscape and motivate us to perpetuate truth, beauty, and natural sensibilities, even amid our pixelated constructs, as we witness the rise of a post-post-truth renaissance.

Nonon-Kei Utilitarianism

Nonon-Kei is not merely a critique of the contemporary factors leading us into Total Beauty Death, but it constitutes a practical compass — a guiding principles. Embracing the tenets of Nonon-Kei tantamounts to honing an aesthetic discernment that aids in perceiving someone's intrinsic character. This practice of Sensory Character Assessment encapsulates the vibe-checking aptitude where we attune ourselves to perceive the person's authentic aura.

Effectuating a non-verbal productive gatekeeping method, Nonon-Kei leverages hypercitationalism. Within this framework, being able to fully interpret a Nonon-Kei art piece signifies an individual free from the rotting fetters of Doxa Hypnosis — a person whose aesthetic senses retain their sharpness and authenticity, a potential comrade within the coming renaissance.

An unfortunate symptom of the Greater Social Sickness — Doxa Hypnosis — is the rampant proliferation of what we could term 'Non Perceptual Characters.' Individuals, stricken by this cultural blindness, exhibit an impaired ability to exercise their natural, sensory judgement. Numerous enterprises, whether recruitment agencies or art critics, now serve as artificial intermediaries, poorly attempting to compensate for this widespread sense-dulling.

Nonon-Kei, in the face of this affliction, extends an invitation to awaken the slumbering senses. Encouraging high-precision vibe-checks, the manifesto empowers individuals to recognise their fellow Animus-Filled Characters — Real Human Beings pulsating with a vibrant authenticity and unmatched vitality. Fellows with with blood coarsing through their veins. Individuals worthy of becoming allies and partners in revelling in the artistry of the multimodal canvas.

Nonon-Kei thus emerges as a meta-compass, a beacon guiding the congregation of these passionate individuals — like a digital constellation of radiant, life-filled stars. Accelerating a network of Real Fun People, it becomes the undefeatable lifeblood of a renaissance — an increasingly vibrant digital garden where authenticity thrives and intermingles. Nonon-Kei is, hence, not just a doctrine or idea, but rather, it is a sword pointing toward the reconstruction of authentic connections with our aesthetic heritage, and a compass navigating towards the horizon of the Immense Joyful Online.