In the beginning, xenophobia created leukotropism.
Leukotropism is the tendency to select, privilege, essentialize, identify with “whiteness”.
Leukotropism is not Whiteness. Whiteness does not exist. Whiteness is an illusion resulting from an impossible emptying.
The leukotropic subject desires to become whiter. It associates “whiteness” with purity, beauty, reason, sophistication and superiority.
The leukotropic is part of an ethopoetics: what we try to do with ourselves out of what the social has already done with us.
Ethopoetically, most poetry and art seeks to enhance the subject’s self-image as an emotionally, intellectually, bodily, spiritually successful leukotropic being.
Leukotropism fundamentally discriminates.
The leukotropic reduces the number of elements in form. Reduction is probably the key term to describe how leukotropism works.
The leukotropic depopulates. The leukotropic expulses. The leukotropic refines. The leukotropic purifies. The leukotropic tranquilizes.
The leukotropic erases end/or distends melantropic elements to produce imaginary molecular systems that isolate, rearrange and augment leukotropic chains.
When feeling down, the leukotropic sees itself as a constellation of bright dead stars.
Leukotropism is the tendency to select, privilege, essentialize, identify with elements that are “purer” (less problematic) than others.
Leukotropism, as my neologism indicates, is a tendency, not an absolute. Grasping aesthetic form involves identifying its degree of leukotropism.
Leukotropic forms distill.
Leukotropic thought defines itself as the rational as opposed to the “irrational”.
The leukotropic, or the fantasy of being whiter and whiter until, the fantasy goes, you finally are completely white, blank, empty, nonexistent.
We are a society where most people relate to one another through their leukotropic public personas.
A leukotropic order is the rearrangement of lives based on solitude and lies.
Leukotropism appeals to all kinds of people, who want to become beautifully alike.
Leukotropism is form’s biopolitics.
The leukotropic hates the melantropic.
By melantropic I mean what tends toward what is considered black, brown, dark, dirty, ugly, stained, messy, impure, inferior.
Most poetry and art provide aesthetic experiences and products for a society that needs to inferiorize the melantropic.
For us, the melantropic people, understanding is not an intellectual pastime. We too understand inside the trenches.
Leukotropic knowledge is carried out for reassurance purposes; to keep things cool, under control. Leukotropic understanding is work of “intelligence” and counter-insurgency.
Melantropic knowledge wants to denounce, destroy, liberate what “is”.
Leukotropic thinking and shaping considers the melantropic bad and old.
When leukotropic subjects want to ethically inferiorize the melantropic, they say it’s dangerous, destructive and violent.
When leukotropic subjects want to aesthetically inferiorize the melantropic, they say it’s boring, unnecessary, unfinished.
Leukotropic thinking and shaping condemns itself to be “good”.
The leukotropic thinks it essentially precedes the melantropic. But it’s historically the other way around.
Leukotropism is fear of otherness and death.
The leukotropic develops to try to give “order” to the melantropic.
The leukotropic sees itself as a work of cleaning out the melantropic. When this leukotropic activity is spiritualized it takes the form of Religion, Law and Art.
Western civilization is hubristic about it’s triumph over the melantropic.
In terms of the body, the leukotropic works through repression of melantropic forces.
The Return of the Repressed is mostly the Returned of the Melantropic. Leukotropism’s somatic decrease of control.
The melantropic is what the leukotropic does not understand but thinks it knows.
Fanon’s melantropic psychoanalysis expanded Freud’s still leukotropic psychoanalysis.
Lacan is preferred by retro-leukotropic groups.
Zizek’s runny nose shows his phalo-leukotropic machine leaks all the time. Leukotropism always suffers rhinorrhea.
People under leukotropic control don’t see any opposition between forces or elements. Or soon speak about the superiority of peace.
The leukotropic hides (colonial) blood.
The leukotropic often pretends nothing can alter its state of affairs.
Leukotropic forces operate under the form of counter-insurgent reactions inside the body against the body.
Most probably one of our next bodies will be electronic. But we have to prevent the electro-somatic to be purely leukotropic.
This century we will have to liberate the electronic from the leukotropic.
The work of liberation also involves preventing English to be reduced to what Orwell called Newspeak, which is LeukoSpeak.
Leukotropism turns darkness into something lighter. Only melantropic vision can see this new kind of darkness.
Leukotropism moves through erasure of daily destruction and making this genocidal life lyrical.
Because it fears alterity, the leukotropic traces a trajectory of self-protection and isolation.
Leukotropisms are constellations of micro-management schemes against menaces that take imaginary molecular form.
It is precisely through art and poetry that leukotropic imaginary molecules take the (material) form of “aesthetic works” which then human subjects can point at as both a reflection and an idealization of themselves.
The leukotropic likes to believe it resembles ancient wisdom in its brakigraphic and enigmatic use of language.
Most literature and art prides itself on still being white and black photography.
The leukotropic starts by hating the “vulgar” and ends up hating speech.
Because poetry selects, it permanently runs the risk of selecting words that represent “white” values over “dark” values.
Highly leukotropic forms are considered “elegant”. The leukomorphic, the leukocentric doesn’t bother us with whatever is dark, obscure, non-white.
Most Post-modern parataxis results from poets eluding, zigzagging, melantropic elements that would ruin the celebrated cold formulas leukotropic networks embrace.
Style is eugraphy: form felt as true because it’s felt as beautiful. Beautiful for groups who find beautiful whatever is leukotropic.
Aesthetic producers and judges define leukotropic works of art as “luxuries” and “jewels”.
Diamonds are leuktropic people’s best friends.
What disobeys the leukotropic formula is commonly referred to as trash.
Irony is how we still hold true what we already are saying is false. Irony is how the leukotropic administers the possibility of another world order.
But probably the leukotropic most useful poetic function is to provide sublime crypto-self-portraits that ratify aesthetic classes they are more contemporary and beautiful than others.
What people like to see themselves drinking says a lot about their relationship to the colonial system. Think of coffee, for instance.
When the leukotropic classes imagine themselves correctly relating to melantropic realities they think of wine.
“Taste” is how the leukotropic internalizes into a sensorial reaction system its own blindness about the history of oppression.
Most retro is how we culturally neutralize whatever was melantropic about the already leukotropic fashion of the recent pasts.
Most photos are leukotropic, that is, you want to show others you are the leukotropic image they most await, like or desire.
Aesthetic pop categories like the “sexy”, “cool”, “cute” and “nice” epitomize consensual global leukotropic trends and looks.
The visual is more easily put to the service of the leukotropic because machines can easily wipe out the melantropic.
Eurocentric aesthetic form has gradually synthetize itself into this formula: FORM = SLAVERY.
The slavery-form represents aesthetic form in general.
The slavery-form subjugates materialities and compresses the emotional.
The slavery-form is also how the master systems of spectacular governments give opportunities to populations to enjoy what the leukotropic fantasizes as the “melantropic”.
Porn is putting erotic phantasies at the service of the international leukotropic division of Sex.
Porn is the hard-core art of reinforcing the global coloniality of desire.
As Eurocentric cultural historians have insisted so much, the Classical Greek taste is the basis of Modern leukotropism. Technics, materials, configurations, models, masters have changed, but not the Gaze. Not what the Gaze expects.
It’s not a secret Western Art considered the white female nude body as the perfect archetype of Universal Beauty. This Eurocentric fantasy was spiritualized, that is, dematerialized itself in every other visual figure.
When it was finally liberated from the specter of white flesh, leukotropism extended itself to every form, geometry, frame, material and shape. Whenever art is contemplated most probably you will be contemplating white nudity in abstract disguise.
The avant-garde’s tragedy was to put the innovative use of all colors to the service of the leukotropic. The entire palette was put to the service of one color: white.
Modern painting turned the whole chromatic spectrum into a leukotropic affective range.
The avant-garde’s contribution was to prepare a new leukotropic assemblage line, more attuned to the coming technological centuries.
Mona Lisa’s mystery is leukotropism smiling at us.
Malevich was leukotropic, particularly his “Black Square” painting.
Abstraction, well, abstraction is just another name for leukotropism.
Picasso is leukotropic, especially “Les Demoiselles d’Avignon”.
Cubism, including Gertrude Stein, is leukotropic.
Concrete poetry was leukotropic Silence and Pin-Pong turned into New Form.
Rothko is leukotropic light and you are suppossed to sit in the bench and let it irradiate you.
Pop-art is leukotropic reduction and repetition.
Minimalism, again, is just another artistic name for leukotropism.
Conceptual art is leukotropism’s most anglocentric success.
Language Poetry’s emotional detachment was leukotropic.
Posmodernism in general was the disenchantment Western society suffered after emptying its (un)world-view of everything non-leukotropic.
Damian Hirst is the leukotropic skull gone shark.
Contemporary art in general has been recycling its leukotropic recipes too long now.
Electronic literature is still leukotropic too.
Kenneth Goldsmith represents the point where experimental poetics unchallenged leukotropism achieved its tipping point.
If experimental poetics does not stop its inertial leukotropic disposition and machinery it will simply generate another Kenneth Goldsmith, Vanessa Place, Marjorie Perloff, and so on, probably again in the U.S.A., and tomorrow obviously some colonial place else.
Anthologies are leukotropic, Grad School is leukotropic, libraries are leukotropic, the MLA is leukotropic, reading series are leukotropic, the job market is leukotropic. Just about everything in the Humanities wants the leukotropic to revolve around itself.
The leukotropic in general is neoliberally reducing literature into lit.
Because the leukotropic discriminates, all leukotropic production is really curating.
Most curating is how we subordinate all art to leukotropic explanations, patterns, settings and space-times.
See how people dress up to go to the Modern Art museums? See how fashion and high art imitate each other? That’s the ultra-leukotropic.
Most appropriation is how you take over something and put it inside a leukotropic technical image trap.
If all of this is leukotropic, how could poetry and art today not be leukotropic?
Fighting the leukotropic is not only battling against institutions but most importantly it’s a call to arms against our own intuitions.
The leukotropic has been somaticized. A non-leukotropic ethopetics is now urgent. We need to go to war against ourselves.
Leukotropic poetics builds apotropaic formulas to keep the melantropic away. Artworks are amulets. The leukotropic is apotropaic.
Human life is melantropic because we are animals and are surrounded by death. Only denial is leukotropic.
True wisdom knows the melantropic. The leukotropic has never fully experience it.
Verse has been so historically intertwined with leukotropism that a radical poetry will probably have to leave verse behind.
2015, the Official Year of the Conceptual Writing Meltdown, proved that leukotropic poetry can’t deal with melantropic “topics”.
When the ultra-leukotropic includes melantropic “issues” in its abacus and repertoire is destined for cartoonish disaster.
The leukotropic is only an expert at avoiding the melantropic.
Poetry is about moving energies in bodies through sounds and images in order to organize their political reactions.
Understanding poetry means understanding how even the Master wishes to speak, think and feel.
Whoever controls poetry and art is getting in the way of our transnational uprising.
Writers and artists are now at the service of the leukotropic control system.
It’s crucial we understand what the fuck are the leukotropic structures that have been fucking us for centuries.
If we achieve describing leukotropic aesthetics we can disarticulate its reactionary poetics sooner.
Revolution means not to be afraid of destroying this whole system, and having to build another world from nothing but ruins.
Writers & artists frequently say there’s no way to change the world; bozos, use your power, DESTROY ALL CULTURAL AUTHORITIES.
The leukotropic subject is asked to feel disempowered to change the world. And to not see it has gained all the authority, knowledge and field of influence needed to change at least one aesthetic worldly region.
It is only once the leukotropic subject disempowers itself that institutions and networks put it to work for the discrimination, neutralization, co-option, erasure, inferiorization of practices and theories that would empower melantropic communities.
Poets can’t change the entire world but can sure leak a lot of information about Masterly Language.
Popular insurrection will eventually appropriate all valuable info the poet-as-whistleblower leaks as insider of Masterly Language.
Aesthetic producers are now the functionaries whose mission is to increase the prestige of leukotropic forms. And keep the melantropic energies down.
If revolutionary songs infiltrate enough psycho-somatic structures they do unleash effective violence against oppressors.
Insurgent poetics charge sound and visual forms, including words, with everything that is melantropic.
By intensifying melantropic forces inside the now rigidly leukotropic aesthetic chain, writers and artist will trigger revolutionary forces in them and others.
If enhancing the melantropic is done at the same time that leukotropic elements are excluded, we will have a new leukotropic poetics, a new failure.
What should the content of poetry be? InFormation on our human experience in need of being transmitted to others to expand well-living and knowledge.
Poetry form’s is non-human agencies that insures this information is part of a greater mystery than us. Sound, images, language, rhythm, music, all that is necessary to seduce memory.
This transmission cannot be achieved by leukotropism, which has lost sight of what poetry can fully be. Leukotropism is ego and group fear.
In its worst, leukotropism is part of organized civilizational crime. In the best of cases, leukotropism is just cultural inertia.
It’s not balance between the leukotropic and the melantropic what me must seek. “Balance” is a leukotropic value.
It’s the unknown. It’s a new life.