Hey guys,


Welcome to PREGNANT #2

Sorry this week is late - I wasted a bunch of time trying to care about the Kaliacc portion of this issue I had spent a good amount of time researching but in actuality I don’t really give a fuck about the group at all and I was having trouble motivating myself to care. I realized I have no obligation to finish shit that I spent time on but bores me so I’ve decided to trim the fat.



Kaliacc is basically a Uber-online esoteric fascist accelerationist group, comprised of people who may or may not be trans, and seemingly primarily concerned with Savitri Devi style Hindu-Aryanism. There’s nothing new or interesting to me about this kind of shit because I tend to keep up with emerging tendencies and fluctuations in right wing thought. The left seems to trip over their own dick by intentionally refusing to understand and analyze developments on the right and I think that’s a major misstep: how can you argue with someone when you can’t coherently explain what it is they believe outside of what your leftwing echo chamber says they do? 

The reason I took any interest in Kaliacc whatsoever is the way the group presents themselves visually - stylistic schizoposting, the same image of a woman’s face bizarrely photoshopped, and repeated visual cues such as pacifiers and dharma wheels stood out to me as novel especially considering that for the last 10 years give or take, the dominant visual style of any thing, person, or group that originates in an online space is some variety of a Vaporwave aesthetic. 

What's the functional difference?

The fact that I can traverse basically any online space - regardless of ideology, purpose, whatever, and see the same vaporwave visual tropes drives me insane. What are you trying to convey with this visual style? Nothing! It’s totally hollow, meaningless, and most of all lazy as fuck. 

I’ve seen the psued memes about vaporwave being a “hauntological movement” or an expression of “lost futures” and I tend to agree with the latter but not in the way they’re arguing it: the inability explore aesthetic realms beyond a lazy reproduction of a retro aesthetic is the slow death of the future. It makes probably the most sense that vaporwave is such a common visual language for politically engaged content favored by younger audiences because like Mark Fisher said: “it is easier to imagine an end to the world than an end to capitalism.” 

Maybe people in these online-borne spaces truly believe they’re going to make political change through the hollow gestures they make towards revolution, but I think in their heart of hearts, most younger people feel the impotence and inability to contest neoliberalism in any meaningful way and the adoption of vaporwave aesthetics is a type of capitulation, a soft form of surrender while simultaneously telling on yourself that you have the tiniest shred of self-awareness that you are LARPing. So it’s no surprise that you see adoption of vaporwave aesthetics by insufferable BreadTube personalities, Boogaloo Bois, DSA guys, CHAZ/CHOP, “Reject Modernity” people, nerds in America who insist on calling each other “comrade,” and generally any other form of political LARPer.



Not much to say here - I’ll let the images speak for themselves.


Candy Ken is a vile golem comprised of monetized online detritus. A 27 year old TikToker famous with the under 10 years old demographic, Ken is also purportedly a “rapper” and “artist” hailing from Austria. 

A lot of people online refer to him as a "cringe 6ix9ine ripoff," and that’s true insofar as his rainbow color palette and rap aspirations, but I think he’s a bit more than that. The type of content Ken releases is similar to the algorithmically created kids YouTube videos that James Bridle wrote about a couple years ago - nonsensical storylines centered around shocking the audience, creepy infantilizing rosy cheeked makeup, and just a general sense of something being “off”, but with layers of fantasy flex culture folded in (many reaction videos on YouTube focus on Ken’s proclivity to use prop money and fake iPhones in his videos, but that’s not particularly interesting to me.)

My friend Sam compared his videos to Ryan Trecartin’s work, and ever since he said that I can’t unsee it and I have a new appreciation for his videos - when you imagine him as a character in I-Be Area it’s actually pretty good. 


Photo documentation of the elaborate “battle station” computer set ups of gamers and professionals has long struck me as an incredibly depressing phenomenon - the desire for the perfect individualized media consumption experience, realized through the creation of a shrine to digital media feels like it transcends simply enjoying the games and ends up as a pretty blackpilled rejection of life.

All of that said, Battle Stations do not even remotely hold a candle to ‘Goon Caves.” 

Gooning is defined by as: 

“may be most simply defined as that state usually achieved after a prolonged edging session, when a man becomes completely hypnotized by the feeling radiating his penis.”

And the setups on r/GoonCaves are designed to facilitate that state through intricate multi-screen pornography viewing setups surrounding dank seating areas and various sexual paraphernalia. These goon-centric spaces take what is depressing and perverse about the gamer’s battle station and amplify it times a thousand. I can only imagine this will mutate into something even worse in the coming years as goon technology develops further.


Nazi fans of My Little Pony face a reckoning lol

Malcolm Kyeyune has quickly become one of my favorite Marxist thinkers. This article is a biting critique of the autophagic state of the left and I recommend it highly.

Oregon GOP Senate nominee Jo Rae Perkins takes the QAnon "Digital Soldier Oath"

Thank you for subscribing and reading PREGNANT. Once again, I'm happy to field questions, comments, and feedback - feel free to email or DM me on Instagram. 

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