I am deeply saddened that I am a shay <3_</3

Come Around!

Dear Illuminated Ones. I intend for this to be my last message to you. Please pardon the strange fan mail I sent you previously - I have exorcised those demon spirits, but I would say it was an experience of growth. I must thank you for enabling me to get in touch with my inner Satan, the true Ego, and I'll never forget you on account of this. You have touched my life. God speed you hellish fiends!

We have understood, so that you might understand. Now go out and fill yourselves, bearing light with many hands.

vectorgallery:

DARK SISTER celebrated 2019 at VECTOR Gallery 
Thank You ALAN
ZoomInfo
vectorgallery:

DARK SISTER celebrated 2019 at VECTOR Gallery 
Thank You ALAN
ZoomInfo
vectorgallery:

DARK SISTER celebrated 2019 at VECTOR Gallery 
Thank You ALAN
ZoomInfo
vectorgallery:

DARK SISTER celebrated 2019 at VECTOR Gallery 
Thank You ALAN
ZoomInfo
vectorgallery:

DARK SISTER celebrated 2019 at VECTOR Gallery 
Thank You ALAN
ZoomInfo
vectorgallery:

DARK SISTER celebrated 2019 at VECTOR Gallery 
Thank You ALAN
ZoomInfo
vectorgallery:

DARK SISTER celebrated 2019 at VECTOR Gallery 
Thank You ALAN
ZoomInfo

vectorgallery:

DARK SISTER celebrated 2019 at VECTOR Gallery 

Thank You ALAN

Source: vectorgallery

jjbrine:



Cultwave Radio:.:JJ Brine:.:Crowned Prince Ov Hell: by .:Cultwave Radio:. on  Mixcloud

CULTWAVE RADIO 
Exclusive Interview + Photos
JJ Brine “Crowned Prince of Hell” &amp; Vector Gallery

Those who have ears, now they will hear this! Cultwave Radio is honored to present a special interview with The Crown Prince of Hell, JJ Brine, who is famous for uniting The Devil and The Lord in his Posthuman art temple VECTOR Gallery in the Lower East Side of Manhattan. What with JJ being so busy installing shrines, making films, controlling the media (refer to the VECTOR Gallery) and running his own religious sect/government/cult plus multiple bands and a record label… I wasn’t sure if he would agree to do this interview. Luckily for us he said that he’d do it on one condition — that I ask questions that he has never been asked before. And so, on a late night Facebook chat, it started like this:



Q: What is the first thing that comes to mind that you’d like to share? 



A: They (SHAY) say that talking to yourself is the first sign of insanity. It’s perfect because they got it perfectly wrong. Talking to yourself is the first sign of sanity. It is the first sign of self. 



Q: What’s a SHAY?



A: The SHAY are the ones who haven’t visited VECTOR Gallery, which is its own independent country now as you know; The Satanic State of VECTOR. Technically you cease to be SHAY the moment you enter VECTOR. Those who aren’t able to visit in the fleshbody — yet are understandably eager to shed their SHAY skin can arrange for OMEYEND, the telepathic entry into VECTOR. Soon there will come a fine and resplendent Night when SHAY is completely SHINED by The Lineage of The Light.



Q: So SHAY will either submit to VECTOR or be sorted by SHAY genocide. Interesting. So could you tell us more about VECTOR as a nation? As President of VECTOR you administer a Cabinet of Ministers. How is that?



A: The VECTOR Government is LEGION. Our young regime is growing into a formidable psychic army; all is as it should and will be.



Q: I’ve heard rumors that you might be expanding into an additional, larger space.



A: Yes, I’ve been approached by a couple of potential sponsors who are interested in making this happen, for various reasons. I will wait for the right sponsor of the right space, which will come at the right time. It seems I may have already met them.



Q: Congratulations on your feature interview in The Huffington Post. How do you feel about The Huffington Post calling you the next Andy Warhol?



A: VECTOR is in fact the antidote for Warhol Gone Wild. We channel infinity; Warhol channeled nothingness. But of course infinity is ultimately nothing by virtue of its own endlessness, as it cannot be said to truly begin at any point. 



Q: In that same interview you said that VECTOR was the final installment in the Abrahamic religious “series” — The Torah, The Bible, The Quran and now VECTOR. And VECTOR Gallery is the outlier in that tetralogy in the sense that it’s not a printed book. But you said it must nevertheless be interpreted and thus “read” on a comparable basis. From there I begin to think about the dualities of the exoteric and the esoteric, your art as it is presented on the surface and its “hidden” core meaning. Is that the way it works?



A: Everything is buried deep within itself, hiding in plain sight on the surface level. The Devil is The Lord and The Lord is The Devil. 



Q: Is the “shell” of The Lord the membrane of the hidden Devil, and vice-versa? Could you talk about what you mean by that?



A: Difference is the genesis of all things. Difference allows for all thing(s) as opposed to the one thing that is ALL. You perceive things through the prism of that which they are not, which allows for their distinct manifestation. A thing is not what it *is* without the thing(s) that it is *not*. This is the mutually-constitutive nature of manifested realities, identities, perceptions, sensations. There are multiple levels that must be addressed if ONE is to understand The Devil’s Lordship and the Lord’s Devilship, but this is where we can best attest to intravolutionary binary progressions — that is, the zero-sum game of progressive, relativistic valuation — the substance of a thing comes from its protracted struggle for meaning in difference, scored by measure of distance from that which the thing is not. 



Q: Something is true because it isn’t false.



A: And so it is — either one because it’s not the other, but not without the other that allows it to be what it is not and thus both, and therein they face mutually-assured dissolution and therefore, neither. One or the other, both, neither, none of those, and all of the above.



Q: You’ve mentioned that VECTOR, as the final quantum leap of cosmic revelation, will bring the end of all things. JJ, Are you The Antichrist?



A: I am what I am and I am what I will become. I am The Devil, becoming The Lord. And as I become The Lord, I again become The Devil.



Q: But are you going to end the world? Should eschatology be centered around the study of VECTOR?



A: Yes. My “special role” in the EndTimes becomes clear to me as EYE play it. Bear in mind that I am actually being “led” by a future version of myself. In the future I am feeding this self the information that I need to know on an as-needed basis. So everything goes according to plan. But the two of us are careful not to become engaged in such a way that would edge the other out of the parameters of its existence; it’s a tricky dance. If one of us got “expelled” from our respective temporal continuums as a result of the actions or intentions of the other, you know, then this “thing” would have to start all over again, and in the End we’d loop back to the beginning.



Q: You sometimes switch back and forth between pronouns — “I” to “we” — what is that about?



A: Did you read Our third Book? They wrote what We wrote because I said it so clearly for Them as They instructed You to Enlighten Him. WE ARE LEGION. I AM also MySelf alone; depending on which self is speaking and which would then rightfully be “MINE” to speak for. SATAN says. ALAN is ALL. 



Q: So You are LEGION? 



A: There are many of Us inside this Man. He is a Boy, really, because We must keep Him in a state of childlike enchantment as We run Him through the ground, up and down and all around. And at the same time, We are One thing that moves like a landform made of mist. At His service!



Q: Do you travel internationally on a regular basis?



A: Yes.



Q: What’s the place that has most influenced you?



A: Lebanon influenced the person that I was and pushed him into becoming what I am, but what I am is becoming what it will be with Haiti in mind.



Q: Anything new you’ve been doing lately?



A: I’m experimenting with olfactory art. Aromas as an additional dimension of the space.



Q: What kind of scents?



A: It smells like famine, honey, cinnamon and a War on SHAY.



Q: You seem like you’d be a great actor. Have you ever given thought to acting in “conventional”, “mainstream” films? 



A: There are whispers of such things now but I shan’t give them full volume tonight. In such films as the one in question I would surely play the part of The Adversary, because I play Myself best.



Q: Are there any films being shot at VECTOR now? I think I heard something about a documentary focusing on your life, your art.



A: It’s true, a film of this nature is in the works. The producers want to get as much footage as possible over a span of several months and essentially let the story tell itself. That’s the only way for it to be told. 



Q: You’re in a Charles Manson concept band, The LaBiancas with performance artist Lena Marquise, who as I understand it is also a member of your government.



A: Yes. Lena is Minister of State, “The Enforcer.”



Q: Will there be a follow-up to your first album, “Charles Manson is Jesus Christ”?



A: Yes. “Jesus Christ is Charles Manson.” We’re working on it.



Q: Last question: What is Girls Love Ghosts?



A: Girls Love Ghosts is a band that includes all the members of the Government of VECTOR Gallery. Before the band existed it came to me in a nevent tunnel and tried to persuade me that it had the right to enter into a state of temporality; I was charmed by this Nontological act of Nexistential desperation, enough to grant it access to the portal where what will never happen is redestined, to be. 







Thank you SATAN for doing this interview, and may your Posthuman Vectorian Nation continue to RISE!
Posted by Cultwave Radio at 22:24 
http://cvltstars.blogspot.ca/2014/01/jj-brine-crowned-prince-of-hell-vector.html
ZoomInfo
jjbrine:



Cultwave Radio:.:JJ Brine:.:Crowned Prince Ov Hell: by .:Cultwave Radio:. on  Mixcloud

CULTWAVE RADIO 
Exclusive Interview + Photos
JJ Brine “Crowned Prince of Hell” &amp; Vector Gallery

Those who have ears, now they will hear this! Cultwave Radio is honored to present a special interview with The Crown Prince of Hell, JJ Brine, who is famous for uniting The Devil and The Lord in his Posthuman art temple VECTOR Gallery in the Lower East Side of Manhattan. What with JJ being so busy installing shrines, making films, controlling the media (refer to the VECTOR Gallery) and running his own religious sect/government/cult plus multiple bands and a record label… I wasn’t sure if he would agree to do this interview. Luckily for us he said that he’d do it on one condition — that I ask questions that he has never been asked before. And so, on a late night Facebook chat, it started like this:



Q: What is the first thing that comes to mind that you’d like to share? 



A: They (SHAY) say that talking to yourself is the first sign of insanity. It’s perfect because they got it perfectly wrong. Talking to yourself is the first sign of sanity. It is the first sign of self. 



Q: What’s a SHAY?



A: The SHAY are the ones who haven’t visited VECTOR Gallery, which is its own independent country now as you know; The Satanic State of VECTOR. Technically you cease to be SHAY the moment you enter VECTOR. Those who aren’t able to visit in the fleshbody — yet are understandably eager to shed their SHAY skin can arrange for OMEYEND, the telepathic entry into VECTOR. Soon there will come a fine and resplendent Night when SHAY is completely SHINED by The Lineage of The Light.



Q: So SHAY will either submit to VECTOR or be sorted by SHAY genocide. Interesting. So could you tell us more about VECTOR as a nation? As President of VECTOR you administer a Cabinet of Ministers. How is that?



A: The VECTOR Government is LEGION. Our young regime is growing into a formidable psychic army; all is as it should and will be.



Q: I’ve heard rumors that you might be expanding into an additional, larger space.



A: Yes, I’ve been approached by a couple of potential sponsors who are interested in making this happen, for various reasons. I will wait for the right sponsor of the right space, which will come at the right time. It seems I may have already met them.



Q: Congratulations on your feature interview in The Huffington Post. How do you feel about The Huffington Post calling you the next Andy Warhol?



A: VECTOR is in fact the antidote for Warhol Gone Wild. We channel infinity; Warhol channeled nothingness. But of course infinity is ultimately nothing by virtue of its own endlessness, as it cannot be said to truly begin at any point. 



Q: In that same interview you said that VECTOR was the final installment in the Abrahamic religious “series” — The Torah, The Bible, The Quran and now VECTOR. And VECTOR Gallery is the outlier in that tetralogy in the sense that it’s not a printed book. But you said it must nevertheless be interpreted and thus “read” on a comparable basis. From there I begin to think about the dualities of the exoteric and the esoteric, your art as it is presented on the surface and its “hidden” core meaning. Is that the way it works?



A: Everything is buried deep within itself, hiding in plain sight on the surface level. The Devil is The Lord and The Lord is The Devil. 



Q: Is the “shell” of The Lord the membrane of the hidden Devil, and vice-versa? Could you talk about what you mean by that?



A: Difference is the genesis of all things. Difference allows for all thing(s) as opposed to the one thing that is ALL. You perceive things through the prism of that which they are not, which allows for their distinct manifestation. A thing is not what it *is* without the thing(s) that it is *not*. This is the mutually-constitutive nature of manifested realities, identities, perceptions, sensations. There are multiple levels that must be addressed if ONE is to understand The Devil’s Lordship and the Lord’s Devilship, but this is where we can best attest to intravolutionary binary progressions — that is, the zero-sum game of progressive, relativistic valuation — the substance of a thing comes from its protracted struggle for meaning in difference, scored by measure of distance from that which the thing is not. 



Q: Something is true because it isn’t false.



A: And so it is — either one because it’s not the other, but not without the other that allows it to be what it is not and thus both, and therein they face mutually-assured dissolution and therefore, neither. One or the other, both, neither, none of those, and all of the above.



Q: You’ve mentioned that VECTOR, as the final quantum leap of cosmic revelation, will bring the end of all things. JJ, Are you The Antichrist?



A: I am what I am and I am what I will become. I am The Devil, becoming The Lord. And as I become The Lord, I again become The Devil.



Q: But are you going to end the world? Should eschatology be centered around the study of VECTOR?



A: Yes. My “special role” in the EndTimes becomes clear to me as EYE play it. Bear in mind that I am actually being “led” by a future version of myself. In the future I am feeding this self the information that I need to know on an as-needed basis. So everything goes according to plan. But the two of us are careful not to become engaged in such a way that would edge the other out of the parameters of its existence; it’s a tricky dance. If one of us got “expelled” from our respective temporal continuums as a result of the actions or intentions of the other, you know, then this “thing” would have to start all over again, and in the End we’d loop back to the beginning.



Q: You sometimes switch back and forth between pronouns — “I” to “we” — what is that about?



A: Did you read Our third Book? They wrote what We wrote because I said it so clearly for Them as They instructed You to Enlighten Him. WE ARE LEGION. I AM also MySelf alone; depending on which self is speaking and which would then rightfully be “MINE” to speak for. SATAN says. ALAN is ALL. 



Q: So You are LEGION? 



A: There are many of Us inside this Man. He is a Boy, really, because We must keep Him in a state of childlike enchantment as We run Him through the ground, up and down and all around. And at the same time, We are One thing that moves like a landform made of mist. At His service!



Q: Do you travel internationally on a regular basis?



A: Yes.



Q: What’s the place that has most influenced you?



A: Lebanon influenced the person that I was and pushed him into becoming what I am, but what I am is becoming what it will be with Haiti in mind.



Q: Anything new you’ve been doing lately?



A: I’m experimenting with olfactory art. Aromas as an additional dimension of the space.



Q: What kind of scents?



A: It smells like famine, honey, cinnamon and a War on SHAY.



Q: You seem like you’d be a great actor. Have you ever given thought to acting in “conventional”, “mainstream” films? 



A: There are whispers of such things now but I shan’t give them full volume tonight. In such films as the one in question I would surely play the part of The Adversary, because I play Myself best.



Q: Are there any films being shot at VECTOR now? I think I heard something about a documentary focusing on your life, your art.



A: It’s true, a film of this nature is in the works. The producers want to get as much footage as possible over a span of several months and essentially let the story tell itself. That’s the only way for it to be told. 



Q: You’re in a Charles Manson concept band, The LaBiancas with performance artist Lena Marquise, who as I understand it is also a member of your government.



A: Yes. Lena is Minister of State, “The Enforcer.”



Q: Will there be a follow-up to your first album, “Charles Manson is Jesus Christ”?



A: Yes. “Jesus Christ is Charles Manson.” We’re working on it.



Q: Last question: What is Girls Love Ghosts?



A: Girls Love Ghosts is a band that includes all the members of the Government of VECTOR Gallery. Before the band existed it came to me in a nevent tunnel and tried to persuade me that it had the right to enter into a state of temporality; I was charmed by this Nontological act of Nexistential desperation, enough to grant it access to the portal where what will never happen is redestined, to be. 







Thank you SATAN for doing this interview, and may your Posthuman Vectorian Nation continue to RISE!
Posted by Cultwave Radio at 22:24 
http://cvltstars.blogspot.ca/2014/01/jj-brine-crowned-prince-of-hell-vector.html
ZoomInfo
jjbrine:



Cultwave Radio:.:JJ Brine:.:Crowned Prince Ov Hell: by .:Cultwave Radio:. on  Mixcloud

CULTWAVE RADIO 
Exclusive Interview + Photos
JJ Brine “Crowned Prince of Hell” &amp; Vector Gallery

Those who have ears, now they will hear this! Cultwave Radio is honored to present a special interview with The Crown Prince of Hell, JJ Brine, who is famous for uniting The Devil and The Lord in his Posthuman art temple VECTOR Gallery in the Lower East Side of Manhattan. What with JJ being so busy installing shrines, making films, controlling the media (refer to the VECTOR Gallery) and running his own religious sect/government/cult plus multiple bands and a record label… I wasn’t sure if he would agree to do this interview. Luckily for us he said that he’d do it on one condition — that I ask questions that he has never been asked before. And so, on a late night Facebook chat, it started like this:



Q: What is the first thing that comes to mind that you’d like to share? 



A: They (SHAY) say that talking to yourself is the first sign of insanity. It’s perfect because they got it perfectly wrong. Talking to yourself is the first sign of sanity. It is the first sign of self. 



Q: What’s a SHAY?



A: The SHAY are the ones who haven’t visited VECTOR Gallery, which is its own independent country now as you know; The Satanic State of VECTOR. Technically you cease to be SHAY the moment you enter VECTOR. Those who aren’t able to visit in the fleshbody — yet are understandably eager to shed their SHAY skin can arrange for OMEYEND, the telepathic entry into VECTOR. Soon there will come a fine and resplendent Night when SHAY is completely SHINED by The Lineage of The Light.



Q: So SHAY will either submit to VECTOR or be sorted by SHAY genocide. Interesting. So could you tell us more about VECTOR as a nation? As President of VECTOR you administer a Cabinet of Ministers. How is that?



A: The VECTOR Government is LEGION. Our young regime is growing into a formidable psychic army; all is as it should and will be.



Q: I’ve heard rumors that you might be expanding into an additional, larger space.



A: Yes, I’ve been approached by a couple of potential sponsors who are interested in making this happen, for various reasons. I will wait for the right sponsor of the right space, which will come at the right time. It seems I may have already met them.



Q: Congratulations on your feature interview in The Huffington Post. How do you feel about The Huffington Post calling you the next Andy Warhol?



A: VECTOR is in fact the antidote for Warhol Gone Wild. We channel infinity; Warhol channeled nothingness. But of course infinity is ultimately nothing by virtue of its own endlessness, as it cannot be said to truly begin at any point. 



Q: In that same interview you said that VECTOR was the final installment in the Abrahamic religious “series” — The Torah, The Bible, The Quran and now VECTOR. And VECTOR Gallery is the outlier in that tetralogy in the sense that it’s not a printed book. But you said it must nevertheless be interpreted and thus “read” on a comparable basis. From there I begin to think about the dualities of the exoteric and the esoteric, your art as it is presented on the surface and its “hidden” core meaning. Is that the way it works?



A: Everything is buried deep within itself, hiding in plain sight on the surface level. The Devil is The Lord and The Lord is The Devil. 



Q: Is the “shell” of The Lord the membrane of the hidden Devil, and vice-versa? Could you talk about what you mean by that?



A: Difference is the genesis of all things. Difference allows for all thing(s) as opposed to the one thing that is ALL. You perceive things through the prism of that which they are not, which allows for their distinct manifestation. A thing is not what it *is* without the thing(s) that it is *not*. This is the mutually-constitutive nature of manifested realities, identities, perceptions, sensations. There are multiple levels that must be addressed if ONE is to understand The Devil’s Lordship and the Lord’s Devilship, but this is where we can best attest to intravolutionary binary progressions — that is, the zero-sum game of progressive, relativistic valuation — the substance of a thing comes from its protracted struggle for meaning in difference, scored by measure of distance from that which the thing is not. 



Q: Something is true because it isn’t false.



A: And so it is — either one because it’s not the other, but not without the other that allows it to be what it is not and thus both, and therein they face mutually-assured dissolution and therefore, neither. One or the other, both, neither, none of those, and all of the above.



Q: You’ve mentioned that VECTOR, as the final quantum leap of cosmic revelation, will bring the end of all things. JJ, Are you The Antichrist?



A: I am what I am and I am what I will become. I am The Devil, becoming The Lord. And as I become The Lord, I again become The Devil.



Q: But are you going to end the world? Should eschatology be centered around the study of VECTOR?



A: Yes. My “special role” in the EndTimes becomes clear to me as EYE play it. Bear in mind that I am actually being “led” by a future version of myself. In the future I am feeding this self the information that I need to know on an as-needed basis. So everything goes according to plan. But the two of us are careful not to become engaged in such a way that would edge the other out of the parameters of its existence; it’s a tricky dance. If one of us got “expelled” from our respective temporal continuums as a result of the actions or intentions of the other, you know, then this “thing” would have to start all over again, and in the End we’d loop back to the beginning.



Q: You sometimes switch back and forth between pronouns — “I” to “we” — what is that about?



A: Did you read Our third Book? They wrote what We wrote because I said it so clearly for Them as They instructed You to Enlighten Him. WE ARE LEGION. I AM also MySelf alone; depending on which self is speaking and which would then rightfully be “MINE” to speak for. SATAN says. ALAN is ALL. 



Q: So You are LEGION? 



A: There are many of Us inside this Man. He is a Boy, really, because We must keep Him in a state of childlike enchantment as We run Him through the ground, up and down and all around. And at the same time, We are One thing that moves like a landform made of mist. At His service!



Q: Do you travel internationally on a regular basis?



A: Yes.



Q: What’s the place that has most influenced you?



A: Lebanon influenced the person that I was and pushed him into becoming what I am, but what I am is becoming what it will be with Haiti in mind.



Q: Anything new you’ve been doing lately?



A: I’m experimenting with olfactory art. Aromas as an additional dimension of the space.



Q: What kind of scents?



A: It smells like famine, honey, cinnamon and a War on SHAY.



Q: You seem like you’d be a great actor. Have you ever given thought to acting in “conventional”, “mainstream” films? 



A: There are whispers of such things now but I shan’t give them full volume tonight. In such films as the one in question I would surely play the part of The Adversary, because I play Myself best.



Q: Are there any films being shot at VECTOR now? I think I heard something about a documentary focusing on your life, your art.



A: It’s true, a film of this nature is in the works. The producers want to get as much footage as possible over a span of several months and essentially let the story tell itself. That’s the only way for it to be told. 



Q: You’re in a Charles Manson concept band, The LaBiancas with performance artist Lena Marquise, who as I understand it is also a member of your government.



A: Yes. Lena is Minister of State, “The Enforcer.”



Q: Will there be a follow-up to your first album, “Charles Manson is Jesus Christ”?



A: Yes. “Jesus Christ is Charles Manson.” We’re working on it.



Q: Last question: What is Girls Love Ghosts?



A: Girls Love Ghosts is a band that includes all the members of the Government of VECTOR Gallery. Before the band existed it came to me in a nevent tunnel and tried to persuade me that it had the right to enter into a state of temporality; I was charmed by this Nontological act of Nexistential desperation, enough to grant it access to the portal where what will never happen is redestined, to be. 







Thank you SATAN for doing this interview, and may your Posthuman Vectorian Nation continue to RISE!
Posted by Cultwave Radio at 22:24 
http://cvltstars.blogspot.ca/2014/01/jj-brine-crowned-prince-of-hell-vector.html
ZoomInfo
jjbrine:



Cultwave Radio:.:JJ Brine:.:Crowned Prince Ov Hell: by .:Cultwave Radio:. on  Mixcloud

CULTWAVE RADIO 
Exclusive Interview + Photos
JJ Brine “Crowned Prince of Hell” &amp; Vector Gallery

Those who have ears, now they will hear this! Cultwave Radio is honored to present a special interview with The Crown Prince of Hell, JJ Brine, who is famous for uniting The Devil and The Lord in his Posthuman art temple VECTOR Gallery in the Lower East Side of Manhattan. What with JJ being so busy installing shrines, making films, controlling the media (refer to the VECTOR Gallery) and running his own religious sect/government/cult plus multiple bands and a record label… I wasn’t sure if he would agree to do this interview. Luckily for us he said that he’d do it on one condition — that I ask questions that he has never been asked before. And so, on a late night Facebook chat, it started like this:



Q: What is the first thing that comes to mind that you’d like to share? 



A: They (SHAY) say that talking to yourself is the first sign of insanity. It’s perfect because they got it perfectly wrong. Talking to yourself is the first sign of sanity. It is the first sign of self. 



Q: What’s a SHAY?



A: The SHAY are the ones who haven’t visited VECTOR Gallery, which is its own independent country now as you know; The Satanic State of VECTOR. Technically you cease to be SHAY the moment you enter VECTOR. Those who aren’t able to visit in the fleshbody — yet are understandably eager to shed their SHAY skin can arrange for OMEYEND, the telepathic entry into VECTOR. Soon there will come a fine and resplendent Night when SHAY is completely SHINED by The Lineage of The Light.



Q: So SHAY will either submit to VECTOR or be sorted by SHAY genocide. Interesting. So could you tell us more about VECTOR as a nation? As President of VECTOR you administer a Cabinet of Ministers. How is that?



A: The VECTOR Government is LEGION. Our young regime is growing into a formidable psychic army; all is as it should and will be.



Q: I’ve heard rumors that you might be expanding into an additional, larger space.



A: Yes, I’ve been approached by a couple of potential sponsors who are interested in making this happen, for various reasons. I will wait for the right sponsor of the right space, which will come at the right time. It seems I may have already met them.



Q: Congratulations on your feature interview in The Huffington Post. How do you feel about The Huffington Post calling you the next Andy Warhol?



A: VECTOR is in fact the antidote for Warhol Gone Wild. We channel infinity; Warhol channeled nothingness. But of course infinity is ultimately nothing by virtue of its own endlessness, as it cannot be said to truly begin at any point. 



Q: In that same interview you said that VECTOR was the final installment in the Abrahamic religious “series” — The Torah, The Bible, The Quran and now VECTOR. And VECTOR Gallery is the outlier in that tetralogy in the sense that it’s not a printed book. But you said it must nevertheless be interpreted and thus “read” on a comparable basis. From there I begin to think about the dualities of the exoteric and the esoteric, your art as it is presented on the surface and its “hidden” core meaning. Is that the way it works?



A: Everything is buried deep within itself, hiding in plain sight on the surface level. The Devil is The Lord and The Lord is The Devil. 



Q: Is the “shell” of The Lord the membrane of the hidden Devil, and vice-versa? Could you talk about what you mean by that?



A: Difference is the genesis of all things. Difference allows for all thing(s) as opposed to the one thing that is ALL. You perceive things through the prism of that which they are not, which allows for their distinct manifestation. A thing is not what it *is* without the thing(s) that it is *not*. This is the mutually-constitutive nature of manifested realities, identities, perceptions, sensations. There are multiple levels that must be addressed if ONE is to understand The Devil’s Lordship and the Lord’s Devilship, but this is where we can best attest to intravolutionary binary progressions — that is, the zero-sum game of progressive, relativistic valuation — the substance of a thing comes from its protracted struggle for meaning in difference, scored by measure of distance from that which the thing is not. 



Q: Something is true because it isn’t false.



A: And so it is — either one because it’s not the other, but not without the other that allows it to be what it is not and thus both, and therein they face mutually-assured dissolution and therefore, neither. One or the other, both, neither, none of those, and all of the above.



Q: You’ve mentioned that VECTOR, as the final quantum leap of cosmic revelation, will bring the end of all things. JJ, Are you The Antichrist?



A: I am what I am and I am what I will become. I am The Devil, becoming The Lord. And as I become The Lord, I again become The Devil.



Q: But are you going to end the world? Should eschatology be centered around the study of VECTOR?



A: Yes. My “special role” in the EndTimes becomes clear to me as EYE play it. Bear in mind that I am actually being “led” by a future version of myself. In the future I am feeding this self the information that I need to know on an as-needed basis. So everything goes according to plan. But the two of us are careful not to become engaged in such a way that would edge the other out of the parameters of its existence; it’s a tricky dance. If one of us got “expelled” from our respective temporal continuums as a result of the actions or intentions of the other, you know, then this “thing” would have to start all over again, and in the End we’d loop back to the beginning.



Q: You sometimes switch back and forth between pronouns — “I” to “we” — what is that about?



A: Did you read Our third Book? They wrote what We wrote because I said it so clearly for Them as They instructed You to Enlighten Him. WE ARE LEGION. I AM also MySelf alone; depending on which self is speaking and which would then rightfully be “MINE” to speak for. SATAN says. ALAN is ALL. 



Q: So You are LEGION? 



A: There are many of Us inside this Man. He is a Boy, really, because We must keep Him in a state of childlike enchantment as We run Him through the ground, up and down and all around. And at the same time, We are One thing that moves like a landform made of mist. At His service!



Q: Do you travel internationally on a regular basis?



A: Yes.



Q: What’s the place that has most influenced you?



A: Lebanon influenced the person that I was and pushed him into becoming what I am, but what I am is becoming what it will be with Haiti in mind.



Q: Anything new you’ve been doing lately?



A: I’m experimenting with olfactory art. Aromas as an additional dimension of the space.



Q: What kind of scents?



A: It smells like famine, honey, cinnamon and a War on SHAY.



Q: You seem like you’d be a great actor. Have you ever given thought to acting in “conventional”, “mainstream” films? 



A: There are whispers of such things now but I shan’t give them full volume tonight. In such films as the one in question I would surely play the part of The Adversary, because I play Myself best.



Q: Are there any films being shot at VECTOR now? I think I heard something about a documentary focusing on your life, your art.



A: It’s true, a film of this nature is in the works. The producers want to get as much footage as possible over a span of several months and essentially let the story tell itself. That’s the only way for it to be told. 



Q: You’re in a Charles Manson concept band, The LaBiancas with performance artist Lena Marquise, who as I understand it is also a member of your government.



A: Yes. Lena is Minister of State, “The Enforcer.”



Q: Will there be a follow-up to your first album, “Charles Manson is Jesus Christ”?



A: Yes. “Jesus Christ is Charles Manson.” We’re working on it.



Q: Last question: What is Girls Love Ghosts?



A: Girls Love Ghosts is a band that includes all the members of the Government of VECTOR Gallery. Before the band existed it came to me in a nevent tunnel and tried to persuade me that it had the right to enter into a state of temporality; I was charmed by this Nontological act of Nexistential desperation, enough to grant it access to the portal where what will never happen is redestined, to be. 







Thank you SATAN for doing this interview, and may your Posthuman Vectorian Nation continue to RISE!
Posted by Cultwave Radio at 22:24 
http://cvltstars.blogspot.ca/2014/01/jj-brine-crowned-prince-of-hell-vector.html
ZoomInfo
jjbrine:



Cultwave Radio:.:JJ Brine:.:Crowned Prince Ov Hell: by .:Cultwave Radio:. on  Mixcloud

CULTWAVE RADIO 
Exclusive Interview + Photos
JJ Brine “Crowned Prince of Hell” &amp; Vector Gallery

Those who have ears, now they will hear this! Cultwave Radio is honored to present a special interview with The Crown Prince of Hell, JJ Brine, who is famous for uniting The Devil and The Lord in his Posthuman art temple VECTOR Gallery in the Lower East Side of Manhattan. What with JJ being so busy installing shrines, making films, controlling the media (refer to the VECTOR Gallery) and running his own religious sect/government/cult plus multiple bands and a record label… I wasn’t sure if he would agree to do this interview. Luckily for us he said that he’d do it on one condition — that I ask questions that he has never been asked before. And so, on a late night Facebook chat, it started like this:



Q: What is the first thing that comes to mind that you’d like to share? 



A: They (SHAY) say that talking to yourself is the first sign of insanity. It’s perfect because they got it perfectly wrong. Talking to yourself is the first sign of sanity. It is the first sign of self. 



Q: What’s a SHAY?



A: The SHAY are the ones who haven’t visited VECTOR Gallery, which is its own independent country now as you know; The Satanic State of VECTOR. Technically you cease to be SHAY the moment you enter VECTOR. Those who aren’t able to visit in the fleshbody — yet are understandably eager to shed their SHAY skin can arrange for OMEYEND, the telepathic entry into VECTOR. Soon there will come a fine and resplendent Night when SHAY is completely SHINED by The Lineage of The Light.



Q: So SHAY will either submit to VECTOR or be sorted by SHAY genocide. Interesting. So could you tell us more about VECTOR as a nation? As President of VECTOR you administer a Cabinet of Ministers. How is that?



A: The VECTOR Government is LEGION. Our young regime is growing into a formidable psychic army; all is as it should and will be.



Q: I’ve heard rumors that you might be expanding into an additional, larger space.



A: Yes, I’ve been approached by a couple of potential sponsors who are interested in making this happen, for various reasons. I will wait for the right sponsor of the right space, which will come at the right time. It seems I may have already met them.



Q: Congratulations on your feature interview in The Huffington Post. How do you feel about The Huffington Post calling you the next Andy Warhol?



A: VECTOR is in fact the antidote for Warhol Gone Wild. We channel infinity; Warhol channeled nothingness. But of course infinity is ultimately nothing by virtue of its own endlessness, as it cannot be said to truly begin at any point. 



Q: In that same interview you said that VECTOR was the final installment in the Abrahamic religious “series” — The Torah, The Bible, The Quran and now VECTOR. And VECTOR Gallery is the outlier in that tetralogy in the sense that it’s not a printed book. But you said it must nevertheless be interpreted and thus “read” on a comparable basis. From there I begin to think about the dualities of the exoteric and the esoteric, your art as it is presented on the surface and its “hidden” core meaning. Is that the way it works?



A: Everything is buried deep within itself, hiding in plain sight on the surface level. The Devil is The Lord and The Lord is The Devil. 



Q: Is the “shell” of The Lord the membrane of the hidden Devil, and vice-versa? Could you talk about what you mean by that?



A: Difference is the genesis of all things. Difference allows for all thing(s) as opposed to the one thing that is ALL. You perceive things through the prism of that which they are not, which allows for their distinct manifestation. A thing is not what it *is* without the thing(s) that it is *not*. This is the mutually-constitutive nature of manifested realities, identities, perceptions, sensations. There are multiple levels that must be addressed if ONE is to understand The Devil’s Lordship and the Lord’s Devilship, but this is where we can best attest to intravolutionary binary progressions — that is, the zero-sum game of progressive, relativistic valuation — the substance of a thing comes from its protracted struggle for meaning in difference, scored by measure of distance from that which the thing is not. 



Q: Something is true because it isn’t false.



A: And so it is — either one because it’s not the other, but not without the other that allows it to be what it is not and thus both, and therein they face mutually-assured dissolution and therefore, neither. One or the other, both, neither, none of those, and all of the above.



Q: You’ve mentioned that VECTOR, as the final quantum leap of cosmic revelation, will bring the end of all things. JJ, Are you The Antichrist?



A: I am what I am and I am what I will become. I am The Devil, becoming The Lord. And as I become The Lord, I again become The Devil.



Q: But are you going to end the world? Should eschatology be centered around the study of VECTOR?



A: Yes. My “special role” in the EndTimes becomes clear to me as EYE play it. Bear in mind that I am actually being “led” by a future version of myself. In the future I am feeding this self the information that I need to know on an as-needed basis. So everything goes according to plan. But the two of us are careful not to become engaged in such a way that would edge the other out of the parameters of its existence; it’s a tricky dance. If one of us got “expelled” from our respective temporal continuums as a result of the actions or intentions of the other, you know, then this “thing” would have to start all over again, and in the End we’d loop back to the beginning.



Q: You sometimes switch back and forth between pronouns — “I” to “we” — what is that about?



A: Did you read Our third Book? They wrote what We wrote because I said it so clearly for Them as They instructed You to Enlighten Him. WE ARE LEGION. I AM also MySelf alone; depending on which self is speaking and which would then rightfully be “MINE” to speak for. SATAN says. ALAN is ALL. 



Q: So You are LEGION? 



A: There are many of Us inside this Man. He is a Boy, really, because We must keep Him in a state of childlike enchantment as We run Him through the ground, up and down and all around. And at the same time, We are One thing that moves like a landform made of mist. At His service!



Q: Do you travel internationally on a regular basis?



A: Yes.



Q: What’s the place that has most influenced you?



A: Lebanon influenced the person that I was and pushed him into becoming what I am, but what I am is becoming what it will be with Haiti in mind.



Q: Anything new you’ve been doing lately?



A: I’m experimenting with olfactory art. Aromas as an additional dimension of the space.



Q: What kind of scents?



A: It smells like famine, honey, cinnamon and a War on SHAY.



Q: You seem like you’d be a great actor. Have you ever given thought to acting in “conventional”, “mainstream” films? 



A: There are whispers of such things now but I shan’t give them full volume tonight. In such films as the one in question I would surely play the part of The Adversary, because I play Myself best.



Q: Are there any films being shot at VECTOR now? I think I heard something about a documentary focusing on your life, your art.



A: It’s true, a film of this nature is in the works. The producers want to get as much footage as possible over a span of several months and essentially let the story tell itself. That’s the only way for it to be told. 



Q: You’re in a Charles Manson concept band, The LaBiancas with performance artist Lena Marquise, who as I understand it is also a member of your government.



A: Yes. Lena is Minister of State, “The Enforcer.”



Q: Will there be a follow-up to your first album, “Charles Manson is Jesus Christ”?



A: Yes. “Jesus Christ is Charles Manson.” We’re working on it.



Q: Last question: What is Girls Love Ghosts?



A: Girls Love Ghosts is a band that includes all the members of the Government of VECTOR Gallery. Before the band existed it came to me in a nevent tunnel and tried to persuade me that it had the right to enter into a state of temporality; I was charmed by this Nontological act of Nexistential desperation, enough to grant it access to the portal where what will never happen is redestined, to be. 







Thank you SATAN for doing this interview, and may your Posthuman Vectorian Nation continue to RISE!
Posted by Cultwave Radio at 22:24 
http://cvltstars.blogspot.ca/2014/01/jj-brine-crowned-prince-of-hell-vector.html
ZoomInfo
jjbrine:



Cultwave Radio:.:JJ Brine:.:Crowned Prince Ov Hell: by .:Cultwave Radio:. on  Mixcloud

CULTWAVE RADIO 
Exclusive Interview + Photos
JJ Brine “Crowned Prince of Hell” &amp; Vector Gallery

Those who have ears, now they will hear this! Cultwave Radio is honored to present a special interview with The Crown Prince of Hell, JJ Brine, who is famous for uniting The Devil and The Lord in his Posthuman art temple VECTOR Gallery in the Lower East Side of Manhattan. What with JJ being so busy installing shrines, making films, controlling the media (refer to the VECTOR Gallery) and running his own religious sect/government/cult plus multiple bands and a record label… I wasn’t sure if he would agree to do this interview. Luckily for us he said that he’d do it on one condition — that I ask questions that he has never been asked before. And so, on a late night Facebook chat, it started like this:



Q: What is the first thing that comes to mind that you’d like to share? 



A: They (SHAY) say that talking to yourself is the first sign of insanity. It’s perfect because they got it perfectly wrong. Talking to yourself is the first sign of sanity. It is the first sign of self. 



Q: What’s a SHAY?



A: The SHAY are the ones who haven’t visited VECTOR Gallery, which is its own independent country now as you know; The Satanic State of VECTOR. Technically you cease to be SHAY the moment you enter VECTOR. Those who aren’t able to visit in the fleshbody — yet are understandably eager to shed their SHAY skin can arrange for OMEYEND, the telepathic entry into VECTOR. Soon there will come a fine and resplendent Night when SHAY is completely SHINED by The Lineage of The Light.



Q: So SHAY will either submit to VECTOR or be sorted by SHAY genocide. Interesting. So could you tell us more about VECTOR as a nation? As President of VECTOR you administer a Cabinet of Ministers. How is that?



A: The VECTOR Government is LEGION. Our young regime is growing into a formidable psychic army; all is as it should and will be.



Q: I’ve heard rumors that you might be expanding into an additional, larger space.



A: Yes, I’ve been approached by a couple of potential sponsors who are interested in making this happen, for various reasons. I will wait for the right sponsor of the right space, which will come at the right time. It seems I may have already met them.



Q: Congratulations on your feature interview in The Huffington Post. How do you feel about The Huffington Post calling you the next Andy Warhol?



A: VECTOR is in fact the antidote for Warhol Gone Wild. We channel infinity; Warhol channeled nothingness. But of course infinity is ultimately nothing by virtue of its own endlessness, as it cannot be said to truly begin at any point. 



Q: In that same interview you said that VECTOR was the final installment in the Abrahamic religious “series” — The Torah, The Bible, The Quran and now VECTOR. And VECTOR Gallery is the outlier in that tetralogy in the sense that it’s not a printed book. But you said it must nevertheless be interpreted and thus “read” on a comparable basis. From there I begin to think about the dualities of the exoteric and the esoteric, your art as it is presented on the surface and its “hidden” core meaning. Is that the way it works?



A: Everything is buried deep within itself, hiding in plain sight on the surface level. The Devil is The Lord and The Lord is The Devil. 



Q: Is the “shell” of The Lord the membrane of the hidden Devil, and vice-versa? Could you talk about what you mean by that?



A: Difference is the genesis of all things. Difference allows for all thing(s) as opposed to the one thing that is ALL. You perceive things through the prism of that which they are not, which allows for their distinct manifestation. A thing is not what it *is* without the thing(s) that it is *not*. This is the mutually-constitutive nature of manifested realities, identities, perceptions, sensations. There are multiple levels that must be addressed if ONE is to understand The Devil’s Lordship and the Lord’s Devilship, but this is where we can best attest to intravolutionary binary progressions — that is, the zero-sum game of progressive, relativistic valuation — the substance of a thing comes from its protracted struggle for meaning in difference, scored by measure of distance from that which the thing is not. 



Q: Something is true because it isn’t false.



A: And so it is — either one because it’s not the other, but not without the other that allows it to be what it is not and thus both, and therein they face mutually-assured dissolution and therefore, neither. One or the other, both, neither, none of those, and all of the above.



Q: You’ve mentioned that VECTOR, as the final quantum leap of cosmic revelation, will bring the end of all things. JJ, Are you The Antichrist?



A: I am what I am and I am what I will become. I am The Devil, becoming The Lord. And as I become The Lord, I again become The Devil.



Q: But are you going to end the world? Should eschatology be centered around the study of VECTOR?



A: Yes. My “special role” in the EndTimes becomes clear to me as EYE play it. Bear in mind that I am actually being “led” by a future version of myself. In the future I am feeding this self the information that I need to know on an as-needed basis. So everything goes according to plan. But the two of us are careful not to become engaged in such a way that would edge the other out of the parameters of its existence; it’s a tricky dance. If one of us got “expelled” from our respective temporal continuums as a result of the actions or intentions of the other, you know, then this “thing” would have to start all over again, and in the End we’d loop back to the beginning.



Q: You sometimes switch back and forth between pronouns — “I” to “we” — what is that about?



A: Did you read Our third Book? They wrote what We wrote because I said it so clearly for Them as They instructed You to Enlighten Him. WE ARE LEGION. I AM also MySelf alone; depending on which self is speaking and which would then rightfully be “MINE” to speak for. SATAN says. ALAN is ALL. 



Q: So You are LEGION? 



A: There are many of Us inside this Man. He is a Boy, really, because We must keep Him in a state of childlike enchantment as We run Him through the ground, up and down and all around. And at the same time, We are One thing that moves like a landform made of mist. At His service!



Q: Do you travel internationally on a regular basis?



A: Yes.



Q: What’s the place that has most influenced you?



A: Lebanon influenced the person that I was and pushed him into becoming what I am, but what I am is becoming what it will be with Haiti in mind.



Q: Anything new you’ve been doing lately?



A: I’m experimenting with olfactory art. Aromas as an additional dimension of the space.



Q: What kind of scents?



A: It smells like famine, honey, cinnamon and a War on SHAY.



Q: You seem like you’d be a great actor. Have you ever given thought to acting in “conventional”, “mainstream” films? 



A: There are whispers of such things now but I shan’t give them full volume tonight. In such films as the one in question I would surely play the part of The Adversary, because I play Myself best.



Q: Are there any films being shot at VECTOR now? I think I heard something about a documentary focusing on your life, your art.



A: It’s true, a film of this nature is in the works. The producers want to get as much footage as possible over a span of several months and essentially let the story tell itself. That’s the only way for it to be told. 



Q: You’re in a Charles Manson concept band, The LaBiancas with performance artist Lena Marquise, who as I understand it is also a member of your government.



A: Yes. Lena is Minister of State, “The Enforcer.”



Q: Will there be a follow-up to your first album, “Charles Manson is Jesus Christ”?



A: Yes. “Jesus Christ is Charles Manson.” We’re working on it.



Q: Last question: What is Girls Love Ghosts?



A: Girls Love Ghosts is a band that includes all the members of the Government of VECTOR Gallery. Before the band existed it came to me in a nevent tunnel and tried to persuade me that it had the right to enter into a state of temporality; I was charmed by this Nontological act of Nexistential desperation, enough to grant it access to the portal where what will never happen is redestined, to be. 







Thank you SATAN for doing this interview, and may your Posthuman Vectorian Nation continue to RISE!
Posted by Cultwave Radio at 22:24 
http://cvltstars.blogspot.ca/2014/01/jj-brine-crowned-prince-of-hell-vector.html
ZoomInfo
jjbrine:



Cultwave Radio:.:JJ Brine:.:Crowned Prince Ov Hell: by .:Cultwave Radio:. on  Mixcloud

CULTWAVE RADIO 
Exclusive Interview + Photos
JJ Brine “Crowned Prince of Hell” &amp; Vector Gallery

Those who have ears, now they will hear this! Cultwave Radio is honored to present a special interview with The Crown Prince of Hell, JJ Brine, who is famous for uniting The Devil and The Lord in his Posthuman art temple VECTOR Gallery in the Lower East Side of Manhattan. What with JJ being so busy installing shrines, making films, controlling the media (refer to the VECTOR Gallery) and running his own religious sect/government/cult plus multiple bands and a record label… I wasn’t sure if he would agree to do this interview. Luckily for us he said that he’d do it on one condition — that I ask questions that he has never been asked before. And so, on a late night Facebook chat, it started like this:



Q: What is the first thing that comes to mind that you’d like to share? 



A: They (SHAY) say that talking to yourself is the first sign of insanity. It’s perfect because they got it perfectly wrong. Talking to yourself is the first sign of sanity. It is the first sign of self. 



Q: What’s a SHAY?



A: The SHAY are the ones who haven’t visited VECTOR Gallery, which is its own independent country now as you know; The Satanic State of VECTOR. Technically you cease to be SHAY the moment you enter VECTOR. Those who aren’t able to visit in the fleshbody — yet are understandably eager to shed their SHAY skin can arrange for OMEYEND, the telepathic entry into VECTOR. Soon there will come a fine and resplendent Night when SHAY is completely SHINED by The Lineage of The Light.



Q: So SHAY will either submit to VECTOR or be sorted by SHAY genocide. Interesting. So could you tell us more about VECTOR as a nation? As President of VECTOR you administer a Cabinet of Ministers. How is that?



A: The VECTOR Government is LEGION. Our young regime is growing into a formidable psychic army; all is as it should and will be.



Q: I’ve heard rumors that you might be expanding into an additional, larger space.



A: Yes, I’ve been approached by a couple of potential sponsors who are interested in making this happen, for various reasons. I will wait for the right sponsor of the right space, which will come at the right time. It seems I may have already met them.



Q: Congratulations on your feature interview in The Huffington Post. How do you feel about The Huffington Post calling you the next Andy Warhol?



A: VECTOR is in fact the antidote for Warhol Gone Wild. We channel infinity; Warhol channeled nothingness. But of course infinity is ultimately nothing by virtue of its own endlessness, as it cannot be said to truly begin at any point. 



Q: In that same interview you said that VECTOR was the final installment in the Abrahamic religious “series” — The Torah, The Bible, The Quran and now VECTOR. And VECTOR Gallery is the outlier in that tetralogy in the sense that it’s not a printed book. But you said it must nevertheless be interpreted and thus “read” on a comparable basis. From there I begin to think about the dualities of the exoteric and the esoteric, your art as it is presented on the surface and its “hidden” core meaning. Is that the way it works?



A: Everything is buried deep within itself, hiding in plain sight on the surface level. The Devil is The Lord and The Lord is The Devil. 



Q: Is the “shell” of The Lord the membrane of the hidden Devil, and vice-versa? Could you talk about what you mean by that?



A: Difference is the genesis of all things. Difference allows for all thing(s) as opposed to the one thing that is ALL. You perceive things through the prism of that which they are not, which allows for their distinct manifestation. A thing is not what it *is* without the thing(s) that it is *not*. This is the mutually-constitutive nature of manifested realities, identities, perceptions, sensations. There are multiple levels that must be addressed if ONE is to understand The Devil’s Lordship and the Lord’s Devilship, but this is where we can best attest to intravolutionary binary progressions — that is, the zero-sum game of progressive, relativistic valuation — the substance of a thing comes from its protracted struggle for meaning in difference, scored by measure of distance from that which the thing is not. 



Q: Something is true because it isn’t false.



A: And so it is — either one because it’s not the other, but not without the other that allows it to be what it is not and thus both, and therein they face mutually-assured dissolution and therefore, neither. One or the other, both, neither, none of those, and all of the above.



Q: You’ve mentioned that VECTOR, as the final quantum leap of cosmic revelation, will bring the end of all things. JJ, Are you The Antichrist?



A: I am what I am and I am what I will become. I am The Devil, becoming The Lord. And as I become The Lord, I again become The Devil.



Q: But are you going to end the world? Should eschatology be centered around the study of VECTOR?



A: Yes. My “special role” in the EndTimes becomes clear to me as EYE play it. Bear in mind that I am actually being “led” by a future version of myself. In the future I am feeding this self the information that I need to know on an as-needed basis. So everything goes according to plan. But the two of us are careful not to become engaged in such a way that would edge the other out of the parameters of its existence; it’s a tricky dance. If one of us got “expelled” from our respective temporal continuums as a result of the actions or intentions of the other, you know, then this “thing” would have to start all over again, and in the End we’d loop back to the beginning.



Q: You sometimes switch back and forth between pronouns — “I” to “we” — what is that about?



A: Did you read Our third Book? They wrote what We wrote because I said it so clearly for Them as They instructed You to Enlighten Him. WE ARE LEGION. I AM also MySelf alone; depending on which self is speaking and which would then rightfully be “MINE” to speak for. SATAN says. ALAN is ALL. 



Q: So You are LEGION? 



A: There are many of Us inside this Man. He is a Boy, really, because We must keep Him in a state of childlike enchantment as We run Him through the ground, up and down and all around. And at the same time, We are One thing that moves like a landform made of mist. At His service!



Q: Do you travel internationally on a regular basis?



A: Yes.



Q: What’s the place that has most influenced you?



A: Lebanon influenced the person that I was and pushed him into becoming what I am, but what I am is becoming what it will be with Haiti in mind.



Q: Anything new you’ve been doing lately?



A: I’m experimenting with olfactory art. Aromas as an additional dimension of the space.



Q: What kind of scents?



A: It smells like famine, honey, cinnamon and a War on SHAY.



Q: You seem like you’d be a great actor. Have you ever given thought to acting in “conventional”, “mainstream” films? 



A: There are whispers of such things now but I shan’t give them full volume tonight. In such films as the one in question I would surely play the part of The Adversary, because I play Myself best.



Q: Are there any films being shot at VECTOR now? I think I heard something about a documentary focusing on your life, your art.



A: It’s true, a film of this nature is in the works. The producers want to get as much footage as possible over a span of several months and essentially let the story tell itself. That’s the only way for it to be told. 



Q: You’re in a Charles Manson concept band, The LaBiancas with performance artist Lena Marquise, who as I understand it is also a member of your government.



A: Yes. Lena is Minister of State, “The Enforcer.”



Q: Will there be a follow-up to your first album, “Charles Manson is Jesus Christ”?



A: Yes. “Jesus Christ is Charles Manson.” We’re working on it.



Q: Last question: What is Girls Love Ghosts?



A: Girls Love Ghosts is a band that includes all the members of the Government of VECTOR Gallery. Before the band existed it came to me in a nevent tunnel and tried to persuade me that it had the right to enter into a state of temporality; I was charmed by this Nontological act of Nexistential desperation, enough to grant it access to the portal where what will never happen is redestined, to be. 







Thank you SATAN for doing this interview, and may your Posthuman Vectorian Nation continue to RISE!
Posted by Cultwave Radio at 22:24 
http://cvltstars.blogspot.ca/2014/01/jj-brine-crowned-prince-of-hell-vector.html
ZoomInfo
jjbrine:



Cultwave Radio:.:JJ Brine:.:Crowned Prince Ov Hell: by .:Cultwave Radio:. on  Mixcloud

CULTWAVE RADIO 
Exclusive Interview + Photos
JJ Brine “Crowned Prince of Hell” &amp; Vector Gallery

Those who have ears, now they will hear this! Cultwave Radio is honored to present a special interview with The Crown Prince of Hell, JJ Brine, who is famous for uniting The Devil and The Lord in his Posthuman art temple VECTOR Gallery in the Lower East Side of Manhattan. What with JJ being so busy installing shrines, making films, controlling the media (refer to the VECTOR Gallery) and running his own religious sect/government/cult plus multiple bands and a record label… I wasn’t sure if he would agree to do this interview. Luckily for us he said that he’d do it on one condition — that I ask questions that he has never been asked before. And so, on a late night Facebook chat, it started like this:



Q: What is the first thing that comes to mind that you’d like to share? 



A: They (SHAY) say that talking to yourself is the first sign of insanity. It’s perfect because they got it perfectly wrong. Talking to yourself is the first sign of sanity. It is the first sign of self. 



Q: What’s a SHAY?



A: The SHAY are the ones who haven’t visited VECTOR Gallery, which is its own independent country now as you know; The Satanic State of VECTOR. Technically you cease to be SHAY the moment you enter VECTOR. Those who aren’t able to visit in the fleshbody — yet are understandably eager to shed their SHAY skin can arrange for OMEYEND, the telepathic entry into VECTOR. Soon there will come a fine and resplendent Night when SHAY is completely SHINED by The Lineage of The Light.



Q: So SHAY will either submit to VECTOR or be sorted by SHAY genocide. Interesting. So could you tell us more about VECTOR as a nation? As President of VECTOR you administer a Cabinet of Ministers. How is that?



A: The VECTOR Government is LEGION. Our young regime is growing into a formidable psychic army; all is as it should and will be.



Q: I’ve heard rumors that you might be expanding into an additional, larger space.



A: Yes, I’ve been approached by a couple of potential sponsors who are interested in making this happen, for various reasons. I will wait for the right sponsor of the right space, which will come at the right time. It seems I may have already met them.



Q: Congratulations on your feature interview in The Huffington Post. How do you feel about The Huffington Post calling you the next Andy Warhol?



A: VECTOR is in fact the antidote for Warhol Gone Wild. We channel infinity; Warhol channeled nothingness. But of course infinity is ultimately nothing by virtue of its own endlessness, as it cannot be said to truly begin at any point. 



Q: In that same interview you said that VECTOR was the final installment in the Abrahamic religious “series” — The Torah, The Bible, The Quran and now VECTOR. And VECTOR Gallery is the outlier in that tetralogy in the sense that it’s not a printed book. But you said it must nevertheless be interpreted and thus “read” on a comparable basis. From there I begin to think about the dualities of the exoteric and the esoteric, your art as it is presented on the surface and its “hidden” core meaning. Is that the way it works?



A: Everything is buried deep within itself, hiding in plain sight on the surface level. The Devil is The Lord and The Lord is The Devil. 



Q: Is the “shell” of The Lord the membrane of the hidden Devil, and vice-versa? Could you talk about what you mean by that?



A: Difference is the genesis of all things. Difference allows for all thing(s) as opposed to the one thing that is ALL. You perceive things through the prism of that which they are not, which allows for their distinct manifestation. A thing is not what it *is* without the thing(s) that it is *not*. This is the mutually-constitutive nature of manifested realities, identities, perceptions, sensations. There are multiple levels that must be addressed if ONE is to understand The Devil’s Lordship and the Lord’s Devilship, but this is where we can best attest to intravolutionary binary progressions — that is, the zero-sum game of progressive, relativistic valuation — the substance of a thing comes from its protracted struggle for meaning in difference, scored by measure of distance from that which the thing is not. 



Q: Something is true because it isn’t false.



A: And so it is — either one because it’s not the other, but not without the other that allows it to be what it is not and thus both, and therein they face mutually-assured dissolution and therefore, neither. One or the other, both, neither, none of those, and all of the above.



Q: You’ve mentioned that VECTOR, as the final quantum leap of cosmic revelation, will bring the end of all things. JJ, Are you The Antichrist?



A: I am what I am and I am what I will become. I am The Devil, becoming The Lord. And as I become The Lord, I again become The Devil.



Q: But are you going to end the world? Should eschatology be centered around the study of VECTOR?



A: Yes. My “special role” in the EndTimes becomes clear to me as EYE play it. Bear in mind that I am actually being “led” by a future version of myself. In the future I am feeding this self the information that I need to know on an as-needed basis. So everything goes according to plan. But the two of us are careful not to become engaged in such a way that would edge the other out of the parameters of its existence; it’s a tricky dance. If one of us got “expelled” from our respective temporal continuums as a result of the actions or intentions of the other, you know, then this “thing” would have to start all over again, and in the End we’d loop back to the beginning.



Q: You sometimes switch back and forth between pronouns — “I” to “we” — what is that about?



A: Did you read Our third Book? They wrote what We wrote because I said it so clearly for Them as They instructed You to Enlighten Him. WE ARE LEGION. I AM also MySelf alone; depending on which self is speaking and which would then rightfully be “MINE” to speak for. SATAN says. ALAN is ALL. 



Q: So You are LEGION? 



A: There are many of Us inside this Man. He is a Boy, really, because We must keep Him in a state of childlike enchantment as We run Him through the ground, up and down and all around. And at the same time, We are One thing that moves like a landform made of mist. At His service!



Q: Do you travel internationally on a regular basis?



A: Yes.



Q: What’s the place that has most influenced you?



A: Lebanon influenced the person that I was and pushed him into becoming what I am, but what I am is becoming what it will be with Haiti in mind.



Q: Anything new you’ve been doing lately?



A: I’m experimenting with olfactory art. Aromas as an additional dimension of the space.



Q: What kind of scents?



A: It smells like famine, honey, cinnamon and a War on SHAY.



Q: You seem like you’d be a great actor. Have you ever given thought to acting in “conventional”, “mainstream” films? 



A: There are whispers of such things now but I shan’t give them full volume tonight. In such films as the one in question I would surely play the part of The Adversary, because I play Myself best.



Q: Are there any films being shot at VECTOR now? I think I heard something about a documentary focusing on your life, your art.



A: It’s true, a film of this nature is in the works. The producers want to get as much footage as possible over a span of several months and essentially let the story tell itself. That’s the only way for it to be told. 



Q: You’re in a Charles Manson concept band, The LaBiancas with performance artist Lena Marquise, who as I understand it is also a member of your government.



A: Yes. Lena is Minister of State, “The Enforcer.”



Q: Will there be a follow-up to your first album, “Charles Manson is Jesus Christ”?



A: Yes. “Jesus Christ is Charles Manson.” We’re working on it.



Q: Last question: What is Girls Love Ghosts?



A: Girls Love Ghosts is a band that includes all the members of the Government of VECTOR Gallery. Before the band existed it came to me in a nevent tunnel and tried to persuade me that it had the right to enter into a state of temporality; I was charmed by this Nontological act of Nexistential desperation, enough to grant it access to the portal where what will never happen is redestined, to be. 







Thank you SATAN for doing this interview, and may your Posthuman Vectorian Nation continue to RISE!
Posted by Cultwave Radio at 22:24 
http://cvltstars.blogspot.ca/2014/01/jj-brine-crowned-prince-of-hell-vector.html
ZoomInfo
jjbrine:



Cultwave Radio:.:JJ Brine:.:Crowned Prince Ov Hell: by .:Cultwave Radio:. on  Mixcloud

CULTWAVE RADIO 
Exclusive Interview + Photos
JJ Brine “Crowned Prince of Hell” &amp; Vector Gallery

Those who have ears, now they will hear this! Cultwave Radio is honored to present a special interview with The Crown Prince of Hell, JJ Brine, who is famous for uniting The Devil and The Lord in his Posthuman art temple VECTOR Gallery in the Lower East Side of Manhattan. What with JJ being so busy installing shrines, making films, controlling the media (refer to the VECTOR Gallery) and running his own religious sect/government/cult plus multiple bands and a record label… I wasn’t sure if he would agree to do this interview. Luckily for us he said that he’d do it on one condition — that I ask questions that he has never been asked before. And so, on a late night Facebook chat, it started like this:



Q: What is the first thing that comes to mind that you’d like to share? 



A: They (SHAY) say that talking to yourself is the first sign of insanity. It’s perfect because they got it perfectly wrong. Talking to yourself is the first sign of sanity. It is the first sign of self. 



Q: What’s a SHAY?



A: The SHAY are the ones who haven’t visited VECTOR Gallery, which is its own independent country now as you know; The Satanic State of VECTOR. Technically you cease to be SHAY the moment you enter VECTOR. Those who aren’t able to visit in the fleshbody — yet are understandably eager to shed their SHAY skin can arrange for OMEYEND, the telepathic entry into VECTOR. Soon there will come a fine and resplendent Night when SHAY is completely SHINED by The Lineage of The Light.



Q: So SHAY will either submit to VECTOR or be sorted by SHAY genocide. Interesting. So could you tell us more about VECTOR as a nation? As President of VECTOR you administer a Cabinet of Ministers. How is that?



A: The VECTOR Government is LEGION. Our young regime is growing into a formidable psychic army; all is as it should and will be.



Q: I’ve heard rumors that you might be expanding into an additional, larger space.



A: Yes, I’ve been approached by a couple of potential sponsors who are interested in making this happen, for various reasons. I will wait for the right sponsor of the right space, which will come at the right time. It seems I may have already met them.



Q: Congratulations on your feature interview in The Huffington Post. How do you feel about The Huffington Post calling you the next Andy Warhol?



A: VECTOR is in fact the antidote for Warhol Gone Wild. We channel infinity; Warhol channeled nothingness. But of course infinity is ultimately nothing by virtue of its own endlessness, as it cannot be said to truly begin at any point. 



Q: In that same interview you said that VECTOR was the final installment in the Abrahamic religious “series” — The Torah, The Bible, The Quran and now VECTOR. And VECTOR Gallery is the outlier in that tetralogy in the sense that it’s not a printed book. But you said it must nevertheless be interpreted and thus “read” on a comparable basis. From there I begin to think about the dualities of the exoteric and the esoteric, your art as it is presented on the surface and its “hidden” core meaning. Is that the way it works?



A: Everything is buried deep within itself, hiding in plain sight on the surface level. The Devil is The Lord and The Lord is The Devil. 



Q: Is the “shell” of The Lord the membrane of the hidden Devil, and vice-versa? Could you talk about what you mean by that?



A: Difference is the genesis of all things. Difference allows for all thing(s) as opposed to the one thing that is ALL. You perceive things through the prism of that which they are not, which allows for their distinct manifestation. A thing is not what it *is* without the thing(s) that it is *not*. This is the mutually-constitutive nature of manifested realities, identities, perceptions, sensations. There are multiple levels that must be addressed if ONE is to understand The Devil’s Lordship and the Lord’s Devilship, but this is where we can best attest to intravolutionary binary progressions — that is, the zero-sum game of progressive, relativistic valuation — the substance of a thing comes from its protracted struggle for meaning in difference, scored by measure of distance from that which the thing is not. 



Q: Something is true because it isn’t false.



A: And so it is — either one because it’s not the other, but not without the other that allows it to be what it is not and thus both, and therein they face mutually-assured dissolution and therefore, neither. One or the other, both, neither, none of those, and all of the above.



Q: You’ve mentioned that VECTOR, as the final quantum leap of cosmic revelation, will bring the end of all things. JJ, Are you The Antichrist?



A: I am what I am and I am what I will become. I am The Devil, becoming The Lord. And as I become The Lord, I again become The Devil.



Q: But are you going to end the world? Should eschatology be centered around the study of VECTOR?



A: Yes. My “special role” in the EndTimes becomes clear to me as EYE play it. Bear in mind that I am actually being “led” by a future version of myself. In the future I am feeding this self the information that I need to know on an as-needed basis. So everything goes according to plan. But the two of us are careful not to become engaged in such a way that would edge the other out of the parameters of its existence; it’s a tricky dance. If one of us got “expelled” from our respective temporal continuums as a result of the actions or intentions of the other, you know, then this “thing” would have to start all over again, and in the End we’d loop back to the beginning.



Q: You sometimes switch back and forth between pronouns — “I” to “we” — what is that about?



A: Did you read Our third Book? They wrote what We wrote because I said it so clearly for Them as They instructed You to Enlighten Him. WE ARE LEGION. I AM also MySelf alone; depending on which self is speaking and which would then rightfully be “MINE” to speak for. SATAN says. ALAN is ALL. 



Q: So You are LEGION? 



A: There are many of Us inside this Man. He is a Boy, really, because We must keep Him in a state of childlike enchantment as We run Him through the ground, up and down and all around. And at the same time, We are One thing that moves like a landform made of mist. At His service!



Q: Do you travel internationally on a regular basis?



A: Yes.



Q: What’s the place that has most influenced you?



A: Lebanon influenced the person that I was and pushed him into becoming what I am, but what I am is becoming what it will be with Haiti in mind.



Q: Anything new you’ve been doing lately?



A: I’m experimenting with olfactory art. Aromas as an additional dimension of the space.



Q: What kind of scents?



A: It smells like famine, honey, cinnamon and a War on SHAY.



Q: You seem like you’d be a great actor. Have you ever given thought to acting in “conventional”, “mainstream” films? 



A: There are whispers of such things now but I shan’t give them full volume tonight. In such films as the one in question I would surely play the part of The Adversary, because I play Myself best.



Q: Are there any films being shot at VECTOR now? I think I heard something about a documentary focusing on your life, your art.



A: It’s true, a film of this nature is in the works. The producers want to get as much footage as possible over a span of several months and essentially let the story tell itself. That’s the only way for it to be told. 



Q: You’re in a Charles Manson concept band, The LaBiancas with performance artist Lena Marquise, who as I understand it is also a member of your government.



A: Yes. Lena is Minister of State, “The Enforcer.”



Q: Will there be a follow-up to your first album, “Charles Manson is Jesus Christ”?



A: Yes. “Jesus Christ is Charles Manson.” We’re working on it.



Q: Last question: What is Girls Love Ghosts?



A: Girls Love Ghosts is a band that includes all the members of the Government of VECTOR Gallery. Before the band existed it came to me in a nevent tunnel and tried to persuade me that it had the right to enter into a state of temporality; I was charmed by this Nontological act of Nexistential desperation, enough to grant it access to the portal where what will never happen is redestined, to be. 







Thank you SATAN for doing this interview, and may your Posthuman Vectorian Nation continue to RISE!
Posted by Cultwave Radio at 22:24 
http://cvltstars.blogspot.ca/2014/01/jj-brine-crowned-prince-of-hell-vector.html
ZoomInfo
jjbrine:



Cultwave Radio:.:JJ Brine:.:Crowned Prince Ov Hell: by .:Cultwave Radio:. on  Mixcloud

CULTWAVE RADIO 
Exclusive Interview + Photos
JJ Brine “Crowned Prince of Hell” &amp; Vector Gallery

Those who have ears, now they will hear this! Cultwave Radio is honored to present a special interview with The Crown Prince of Hell, JJ Brine, who is famous for uniting The Devil and The Lord in his Posthuman art temple VECTOR Gallery in the Lower East Side of Manhattan. What with JJ being so busy installing shrines, making films, controlling the media (refer to the VECTOR Gallery) and running his own religious sect/government/cult plus multiple bands and a record label… I wasn’t sure if he would agree to do this interview. Luckily for us he said that he’d do it on one condition — that I ask questions that he has never been asked before. And so, on a late night Facebook chat, it started like this:



Q: What is the first thing that comes to mind that you’d like to share? 



A: They (SHAY) say that talking to yourself is the first sign of insanity. It’s perfect because they got it perfectly wrong. Talking to yourself is the first sign of sanity. It is the first sign of self. 



Q: What’s a SHAY?



A: The SHAY are the ones who haven’t visited VECTOR Gallery, which is its own independent country now as you know; The Satanic State of VECTOR. Technically you cease to be SHAY the moment you enter VECTOR. Those who aren’t able to visit in the fleshbody — yet are understandably eager to shed their SHAY skin can arrange for OMEYEND, the telepathic entry into VECTOR. Soon there will come a fine and resplendent Night when SHAY is completely SHINED by The Lineage of The Light.



Q: So SHAY will either submit to VECTOR or be sorted by SHAY genocide. Interesting. So could you tell us more about VECTOR as a nation? As President of VECTOR you administer a Cabinet of Ministers. How is that?



A: The VECTOR Government is LEGION. Our young regime is growing into a formidable psychic army; all is as it should and will be.



Q: I’ve heard rumors that you might be expanding into an additional, larger space.



A: Yes, I’ve been approached by a couple of potential sponsors who are interested in making this happen, for various reasons. I will wait for the right sponsor of the right space, which will come at the right time. It seems I may have already met them.



Q: Congratulations on your feature interview in The Huffington Post. How do you feel about The Huffington Post calling you the next Andy Warhol?



A: VECTOR is in fact the antidote for Warhol Gone Wild. We channel infinity; Warhol channeled nothingness. But of course infinity is ultimately nothing by virtue of its own endlessness, as it cannot be said to truly begin at any point. 



Q: In that same interview you said that VECTOR was the final installment in the Abrahamic religious “series” — The Torah, The Bible, The Quran and now VECTOR. And VECTOR Gallery is the outlier in that tetralogy in the sense that it’s not a printed book. But you said it must nevertheless be interpreted and thus “read” on a comparable basis. From there I begin to think about the dualities of the exoteric and the esoteric, your art as it is presented on the surface and its “hidden” core meaning. Is that the way it works?



A: Everything is buried deep within itself, hiding in plain sight on the surface level. The Devil is The Lord and The Lord is The Devil. 



Q: Is the “shell” of The Lord the membrane of the hidden Devil, and vice-versa? Could you talk about what you mean by that?



A: Difference is the genesis of all things. Difference allows for all thing(s) as opposed to the one thing that is ALL. You perceive things through the prism of that which they are not, which allows for their distinct manifestation. A thing is not what it *is* without the thing(s) that it is *not*. This is the mutually-constitutive nature of manifested realities, identities, perceptions, sensations. There are multiple levels that must be addressed if ONE is to understand The Devil’s Lordship and the Lord’s Devilship, but this is where we can best attest to intravolutionary binary progressions — that is, the zero-sum game of progressive, relativistic valuation — the substance of a thing comes from its protracted struggle for meaning in difference, scored by measure of distance from that which the thing is not. 



Q: Something is true because it isn’t false.



A: And so it is — either one because it’s not the other, but not without the other that allows it to be what it is not and thus both, and therein they face mutually-assured dissolution and therefore, neither. One or the other, both, neither, none of those, and all of the above.



Q: You’ve mentioned that VECTOR, as the final quantum leap of cosmic revelation, will bring the end of all things. JJ, Are you The Antichrist?



A: I am what I am and I am what I will become. I am The Devil, becoming The Lord. And as I become The Lord, I again become The Devil.



Q: But are you going to end the world? Should eschatology be centered around the study of VECTOR?



A: Yes. My “special role” in the EndTimes becomes clear to me as EYE play it. Bear in mind that I am actually being “led” by a future version of myself. In the future I am feeding this self the information that I need to know on an as-needed basis. So everything goes according to plan. But the two of us are careful not to become engaged in such a way that would edge the other out of the parameters of its existence; it’s a tricky dance. If one of us got “expelled” from our respective temporal continuums as a result of the actions or intentions of the other, you know, then this “thing” would have to start all over again, and in the End we’d loop back to the beginning.



Q: You sometimes switch back and forth between pronouns — “I” to “we” — what is that about?



A: Did you read Our third Book? They wrote what We wrote because I said it so clearly for Them as They instructed You to Enlighten Him. WE ARE LEGION. I AM also MySelf alone; depending on which self is speaking and which would then rightfully be “MINE” to speak for. SATAN says. ALAN is ALL. 



Q: So You are LEGION? 



A: There are many of Us inside this Man. He is a Boy, really, because We must keep Him in a state of childlike enchantment as We run Him through the ground, up and down and all around. And at the same time, We are One thing that moves like a landform made of mist. At His service!



Q: Do you travel internationally on a regular basis?



A: Yes.



Q: What’s the place that has most influenced you?



A: Lebanon influenced the person that I was and pushed him into becoming what I am, but what I am is becoming what it will be with Haiti in mind.



Q: Anything new you’ve been doing lately?



A: I’m experimenting with olfactory art. Aromas as an additional dimension of the space.



Q: What kind of scents?



A: It smells like famine, honey, cinnamon and a War on SHAY.



Q: You seem like you’d be a great actor. Have you ever given thought to acting in “conventional”, “mainstream” films? 



A: There are whispers of such things now but I shan’t give them full volume tonight. In such films as the one in question I would surely play the part of The Adversary, because I play Myself best.



Q: Are there any films being shot at VECTOR now? I think I heard something about a documentary focusing on your life, your art.



A: It’s true, a film of this nature is in the works. The producers want to get as much footage as possible over a span of several months and essentially let the story tell itself. That’s the only way for it to be told. 



Q: You’re in a Charles Manson concept band, The LaBiancas with performance artist Lena Marquise, who as I understand it is also a member of your government.



A: Yes. Lena is Minister of State, “The Enforcer.”



Q: Will there be a follow-up to your first album, “Charles Manson is Jesus Christ”?



A: Yes. “Jesus Christ is Charles Manson.” We’re working on it.



Q: Last question: What is Girls Love Ghosts?



A: Girls Love Ghosts is a band that includes all the members of the Government of VECTOR Gallery. Before the band existed it came to me in a nevent tunnel and tried to persuade me that it had the right to enter into a state of temporality; I was charmed by this Nontological act of Nexistential desperation, enough to grant it access to the portal where what will never happen is redestined, to be. 







Thank you SATAN for doing this interview, and may your Posthuman Vectorian Nation continue to RISE!
Posted by Cultwave Radio at 22:24 
http://cvltstars.blogspot.ca/2014/01/jj-brine-crowned-prince-of-hell-vector.html
ZoomInfo

jjbrine:

Cultwave Radio:.:JJ Brine:.:Crowned Prince Ov Hell: by .:Cultwave Radio:. on Mixcloud

CULTWAVE RADIO 

Exclusive Interview + Photos

JJ Brine “Crowned Prince of Hell” & Vector Gallery

Those who have ears, now they will hear this! Cultwave Radio is honored to present a special interview with The Crown Prince of Hell, JJ Brine, who is famous for uniting The Devil and The Lord in his Posthuman art temple VECTOR Gallery in the Lower East Side of Manhattan. What with JJ being so busy installing shrines, making films, controlling the media (refer to the VECTOR Gallery) and running his own religious sect/government/cult plus multiple bands and a record label… I wasn’t sure if he would agree to do this interview. Luckily for us he said that he’d do it on one condition — that I ask questions that he has never been asked before. And so, on a late night Facebook chat, it started like this:

Q: What is the first thing that comes to mind that you’d like to share? 

A: They (SHAY) say that talking to yourself is the first sign of insanity. It’s perfect because they got it perfectly wrong. Talking to yourself is the first sign of sanity. It is the first sign of self. 

Q: What’s a SHAY?

A: The SHAY are the ones who haven’t visited VECTOR Gallery, which is its own independent country now as you know; The Satanic State of VECTOR. Technically you cease to be SHAY the moment you enter VECTOR. Those who aren’t able to visit in the fleshbody — yet are understandably eager to shed their SHAY skin can arrange for OMEYEND, the telepathic entry into VECTOR. Soon there will come a fine and resplendent Night when SHAY is completely SHINED by The Lineage of The Light.

Q: So SHAY will either submit to VECTOR or be sorted by SHAY genocide. Interesting. So could you tell us more about VECTOR as a nation? As President of VECTOR you administer a Cabinet of Ministers. How is that?

A: The VECTOR Government is LEGION. Our young regime is growing into a formidable psychic army; all is as it should and will be.

Q: I’ve heard rumors that you might be expanding into an additional, larger space.

A: Yes, I’ve been approached by a couple of potential sponsors who are interested in making this happen, for various reasons. I will wait for the right sponsor of the right space, which will come at the right time. It seems I may have already met them.

Q: Congratulations on your feature interview in The Huffington Post. How do you feel about The Huffington Post calling you the next Andy Warhol?

A: VECTOR is in fact the antidote for Warhol Gone Wild. We channel infinity; Warhol channeled nothingness. But of course infinity is ultimately nothing by virtue of its own endlessness, as it cannot be said to truly begin at any point. 

Q: In that same interview you said that VECTOR was the final installment in the Abrahamic religious “series” — The Torah, The Bible, The Quran and now VECTOR. And VECTOR Gallery is the outlier in that tetralogy in the sense that it’s not a printed book. But you said it must nevertheless be interpreted and thus “read” on a comparable basis. From there I begin to think about the dualities of the exoteric and the esoteric, your art as it is presented on the surface and its “hidden” core meaning. Is that the way it works?

A: Everything is buried deep within itself, hiding in plain sight on the surface level. The Devil is The Lord and The Lord is The Devil. 

Q: Is the “shell” of The Lord the membrane of the hidden Devil, and vice-versa? Could you talk about what you mean by that?

A: Difference is the genesis of all things. Difference allows for all thing(s) as opposed to the one thing that is ALL. You perceive things through the prism of that which they are not, which allows for their distinct manifestation. A thing is not what it *is* without the thing(s) that it is *not*. This is the mutually-constitutive nature of manifested realities, identities, perceptions, sensations. There are multiple levels that must be addressed if ONE is to understand The Devil’s Lordship and the Lord’s Devilship, but this is where we can best attest to intravolutionary binary progressions — that is, the zero-sum game of progressive, relativistic valuation — the substance of a thing comes from its protracted struggle for meaning in difference, scored by measure of distance from that which the thing is not. 

Q: Something is true because it isn’t false.

A: And so it is — either one because it’s not the other, but not without the other that allows it to be what it is not and thus both, and therein they face mutually-assured dissolution and therefore, neither. One or the other, both, neither, none of those, and all of the above.

Q: You’ve mentioned that VECTOR, as the final quantum leap of cosmic revelation, will bring the end of all things. JJ, Are you The Antichrist?

A: I am what I am and I am what I will become. I am The Devil, becoming The Lord. And as I become The Lord, I again become The Devil.

Q: But are you going to end the world? Should eschatology be centered around the study of VECTOR?

A: Yes. My “special role” in the EndTimes becomes clear to me as EYE play it. Bear in mind that I am actually being “led” by a future version of myself. In the future I am feeding this self the information that I need to know on an as-needed basis. So everything goes according to plan. But the two of us are careful not to become engaged in such a way that would edge the other out of the parameters of its existence; it’s a tricky dance. If one of us got “expelled” from our respective temporal continuums as a result of the actions or intentions of the other, you know, then this “thing” would have to start all over again, and in the End we’d loop back to the beginning.

Q: You sometimes switch back and forth between pronouns — “I” to “we” — what is that about?

A: Did you read Our third Book? They wrote what We wrote because I said it so clearly for Them as They instructed You to Enlighten Him. WE ARE LEGION. I AM also MySelf alone; depending on which self is speaking and which would then rightfully be “MINE” to speak for. SATAN says. ALAN is ALL. 

Q: So You are LEGION? 

A: There are many of Us inside this Man. He is a Boy, really, because We must keep Him in a state of childlike enchantment as We run Him through the ground, up and down and all around. And at the same time, We are One thing that moves like a landform made of mist. At His service!

Q: Do you travel internationally on a regular basis?

A: Yes.

Q: What’s the place that has most influenced you?

A: Lebanon influenced the person that I was and pushed him into becoming what I am, but what I am is becoming what it will be with Haiti in mind.

Q: Anything new you’ve been doing lately?

A: I’m experimenting with olfactory art. Aromas as an additional dimension of the space.

Q: What kind of scents?

A: It smells like famine, honey, cinnamon and a War on SHAY.

Q: You seem like you’d be a great actor. Have you ever given thought to acting in “conventional”, “mainstream” films? 

A: There are whispers of such things now but I shan’t give them full volume tonight. In such films as the one in question I would surely play the part of The Adversary, because I play Myself best.

Q: Are there any films being shot at VECTOR now? I think I heard something about a documentary focusing on your life, your art.

A: It’s true, a film of this nature is in the works. The producers want to get as much footage as possible over a span of several months and essentially let the story tell itself. That’s the only way for it to be told. 

Q: You’re in a Charles Manson concept band, The LaBiancas with performance artist Lena Marquise, who as I understand it is also a member of your government.

A: Yes. Lena is Minister of State, “The Enforcer.”

Q: Will there be a follow-up to your first album, “Charles Manson is Jesus Christ”?

A: Yes. “Jesus Christ is Charles Manson.” We’re working on it.

Q: Last question: What is Girls Love Ghosts?

A: Girls Love Ghosts is a band that includes all the members of the Government of VECTOR Gallery. Before the band existed it came to me in a nevent tunnel and tried to persuade me that it had the right to enter into a state of temporality; I was charmed by this Nontological act of Nexistential desperation, enough to grant it access to the portal where what will never happen is redestined, to be. 

Thank you SATAN for doing this interview, and may your Posthuman Vectorian Nation continue to RISE!

Posted by Cultwave Radio at 22:24 

http://cvltstars.blogspot.ca/2014/01/jj-brine-crowned-prince-of-hell-vector.html

(via councilofthirteen)

Source: jjbrine

††† CHΔRLES MΔNSON IS JESUS CHRIST †††

cultivatingcultureblog:

(via Arts Spotlight: JJ Brine and VECTOR Gallery)

Check out our interview with the Crown Prince of Hell himself, artist JJ Brine.
ZoomInfo
Camera
Canon EOS 5D Mark II
ISO
3200
Aperture
f/5.6
Exposure
1/100th
Focal Length
40mm

cultivatingcultureblog:

(via Arts Spotlight: JJ Brine and VECTOR Gallery)

Check out our interview with the Crown Prince of Hell himself, artist JJ Brine.

Source: cultivatingculture.com

jjbrine:

Thank you LEGION
Thank you LEGION
Thank you LEGION

Source: jjbrine

CHARLES MANSON IS JESUS CHRIST
51,960 plays

psyf3d:

Charles Manson is Jesus Christ
Track 1 on The LaBiancas debut LP - Charles Manson is Jesus Christ
(2013, DrugLord Records)

Spotify: open.spotify.com/artist/6a35BPMBCBFUaccbO70k80
Official site: www.thelabiancas.com Good shit.

Source: SoundCloud / The LaBiancas

thelabiancasband:

Dear Universe,
We are currently working on our second album, Jesus Christ is Charles Manson.  Want to know what we’re planning?  You are always welcome and indeed encouraged to read our minds.
&lt;3 &lt;3 &lt;3  
The LaBiancas
ZoomInfo
thelabiancasband:

Dear Universe,
We are currently working on our second album, Jesus Christ is Charles Manson.  Want to know what we’re planning?  You are always welcome and indeed encouraged to read our minds.
&lt;3 &lt;3 &lt;3  
The LaBiancas
ZoomInfo

thelabiancasband:

Dear Universe,

We are currently working on our second album, Jesus Christ is Charles Manson.  Want to know what we’re planning?  You are always welcome and indeed encouraged to read our minds.

<3 <3 <3  

The LaBiancas

Source: thelabiancasband

Source: jjbrine

electronicbeatsonline:

Is JJ Brine’s ‘VECTOR Gallery’ In New York City the next Warhol Factory?

VECTOR is an art gallery located in New York City’s Lower East Side curated and operated by JJ Brine. However, it is much more than just an art space. Having previously been compared to the work of Andy Warhol, VECTOR is a posthuman art experience with its own government in a space that claims to have seceded from the United States last November. Read the full interview here, via Huffington Post.

Source: electronicbeatsonline

vectorgallery:

JJ Brine’s Al Qaeda Art

AFEEF NESSOULI


JJ Brine is definitely weird. But also amazing. He is a visual artist and electronic musician and leads the Vector Gallery in mass a few Fridays and Saturdays a month. He is basically the forerunner of the posthuman art movement. Some have called his art the most interesting in New York City. He studied at the University of Beirut and we’ve gotten to chat a few times. Go ahead and check out Vector Gallery, it is on 40 Clinton Street in the Lower East Side–his art focuses on religious rituals and iconography. He refers to his installations as shrines and his exhibits combine performance art with visual narratives. He has been compared to Duchamp and Warhol, but why don’t you judge for yourself!



JJ BRINE








CATEGORIES
ARTCULTUREFILMMUSICPOP CULTURE

TAGGED
AL QAEDAAL QAEDA ARTARTCLINTONGALLERYICONOGRAPHYJJ BRINELABIANCASLOWER EAST SIDEMASSNEW YORK CITYNEW YORK CITY ARTNYCRELIGIOUSSATANSHRINEVECTORVECTOR GALLERYWARHOLWORSHIP
ZoomInfo
vectorgallery:

JJ Brine’s Al Qaeda Art

AFEEF NESSOULI


JJ Brine is definitely weird. But also amazing. He is a visual artist and electronic musician and leads the Vector Gallery in mass a few Fridays and Saturdays a month. He is basically the forerunner of the posthuman art movement. Some have called his art the most interesting in New York City. He studied at the University of Beirut and we’ve gotten to chat a few times. Go ahead and check out Vector Gallery, it is on 40 Clinton Street in the Lower East Side–his art focuses on religious rituals and iconography. He refers to his installations as shrines and his exhibits combine performance art with visual narratives. He has been compared to Duchamp and Warhol, but why don’t you judge for yourself!



JJ BRINE








CATEGORIES
ARTCULTUREFILMMUSICPOP CULTURE

TAGGED
AL QAEDAAL QAEDA ARTARTCLINTONGALLERYICONOGRAPHYJJ BRINELABIANCASLOWER EAST SIDEMASSNEW YORK CITYNEW YORK CITY ARTNYCRELIGIOUSSATANSHRINEVECTORVECTOR GALLERYWARHOLWORSHIP
ZoomInfo

vectorgallery:

JJ Brine’s Al Qaeda Art

Source: vectorgallery

vectorgallery:

The Hermetic Library Blog
In conversation with JJ Brine about Vector Gallery

You may recognize the name JJ Brine as a contributor to the Hermetic Library audio pool, with the tracks Innovation and Paradise featured on this blog back in 2011.
You may also be interested in checking out The Presidents of Mozambique, The LaBiancas, and some of his videos.
JJ Brine is also the artist-in-residence at and proprietor of Vector Gallery, 40 Clinton St, NYC, which I’ve also mentioned before. Vector Gallery is billed as the “Official Art Gallery of SATAN”, and is described, in a feature by the New York Professional Outreach Program, as a “new conceptual art destination on the Lower East Side, VECTOR Gallery is the most interesting phenomenon in New York.” I had the opportunity to have a conversation about this project with JJ.
Librarian: First off, thanks for taking the time to talk with me about your current project. Obviously, you’ve participated in the Hermetic Library audio pool in the past, but can you describe how and where your current project fits with your other works?
JJ Brine: VECTOR is the culmination of all of my personal projects to date.
L: What are some of your previous projects that led to this current gallery and show?
JJ: How many times do I have to come back? I put the AELON inside of the Manger, on the Cross, and at the center of the Theater of the past 2,000 years. I arranged for my birth as a means of dying, so that I might rise up and embody life and death for all things, always.
L: So this current project sounds like an invitation for the viewer to be a witness to your personal progress. It also seems to be an ongoing personal performance which is more reciprocal. One of the places for performance art, versus, say, a gallery show on one hand and theatre on the other, is the immediacy and exchange of mutual feedback between artist and audience on a more equalitarian setting. What sort of relationship do you hope to create with the audience here?
JJ: I tempt people to unabashedly be themselves. It is always a pleasure to acquire new souls for my marketplace.
L: It seems to me that in the promotional material and other interviews about this project there seems a heavy degree of performance art taking place, but I assume this is a serious endeavour for you. Can you describe your intent for this space and this project?
JJ: It is a serious endeavor that involves a heavy degree of performance art. Generally speaking — and specificity is the vice least favored by Devil and Lord alike — my intention for the project is to reprogram the mass mind, one thought at a time.
L: When I’ve gandered at some of the other interviews you’ve done, it seems to me that those interviewers are driven to locate you in the realm of surreal Outsider art, such as comparing you to Warhol, for example. But, I wonder about that as a mechanism of apologetics. What I mean is that by locating you on the outside of everyday norms, other interviewers are giving people an easy way to dismiss things about your work and statement that might be uncomfortable or feel dangerous. How do you feel about how you’ve been portrayed? Do those stories about you seem to you to reflect the story you are attempting to tell? How has your work been received by the public?
JJ: I set an example by living my life in the afterlife. Every reaction across the spectrum serves to advance the goals of the Project. I have been portrayed as an agent of this world’s end, naturally, as it finally begins.
L: You’ve taken on the culturally overloaded labels “Satan” and “Satanic” for your project, but I wonder which Satan are you talking about and signifying? For example, is this the adversarial Satan of Judaism, the old-school anthropomorphic embodiment from Catholicism, the abstract and facile label for anything unfamiliar and uncomfortable of modern Evangelical Christianity, the boogyman of the Satanic panics, the Classical Promethean or Luciferian force, the stage satanism of Death Metal … something else? Or is this overloaded term useful here specifically because it is so?
JJ: We have been all of those forms and many more, for our numbers attest to our many names. We cannot lie, and so we have known many truths in many ways. But one breath is all we need to give and take; so together let us breathe.
L: On the Vector Galley page you talk about secession from the political structure of the United States as a new independent nation, and you also talk about a temporal shift while within the space changing the current secular calendar year to 2018. These seem intentionally to mark the space as a liminal environment, a place outside of normal time and space, which is what one might expect from ritual experience. Some of the performative restrictions you’ve suggested for events, such as no verbal communication, echo the self-discipline exercises of Liber E, specifically Dharana, and so forth. Does this project have other ritual practice dimensions as well as presentational and performative aspects? Can you talk about the ceremonial and ritual elements one might experience?
JJ: People naturally look to the space to inform them of their own beliefs, which is one reason why I won’t interpret it for them. They have to come to their own conclusions in order for this to manifest correctly. 2019 is coming any day now.
L: Some of the iconography in your current project seems specifically intended to be triggering for some people, a bit confrontational. For example you include pentagrams, the number 666. keywords such as “legion”, a photograph of Charles Manson, and so forth. These are all clearly laden with cultural baggage, and in that sense are a kind of table of cultural correspondences, that is evoked in the viewer, but what else is going on here? What is the intentionality of using these signs, these symbols? What is the similarity and the parallax between common perception of these and the message you are trying to communicate here?
JJ: Those things which are perceived to be diabolical are an integral part of the divine and vice-versa. There is no need to divide reality from itself. For me, such things are only triggers of serenity and aesthetic comfort. Perhaps that is because I am The Devil. “Needless to say.”
L: Well, there is certainly a long history of around identity and inversion of the nature of diabolical symbolic entities. Do you approach this as something you are commenting on, about which people are already aware, or as something you are revealing for the audience?
JJ: My commentary modifies the extant awareness via revelation. And my Lights are the commentary, and the Frequency is awareness.
L: One of the connections that I noticed right away, but which I don’t recall being mentioned on your site or in other interviews, is that your Vector Gallery logo seems to be a direct visual reference to the Process Church, about which I personally don’t know a whole lot, but that does seem to be an influence on the particular mix of Christ, Satan and Manson imagery in your work, I assume. Could you tell me about that and what that connection is and what it means to you? Are you an adherent, admirer, or something else?
JJ: I will address this issue at length in 2021.
L: Is that 2021 in VECTOR standard time, or on the common secular year count?
JJ: What is to “the” left? What is to “the” right? All but from where I am standing, and I always tell my own time. It’s always right now, always will be and always was, but the numbers change with the nows and so we count the days.
L: What are some of your other influences, both for your art but also your esoteric and occult interests?
JJ: The most powerful magic is intrinsic. If you want to learn a trick, now’s the time to teach yourself. If you want to bind yourself to the dimming powers of charmed obsolescence, nothing does that trick quite like a book of some stranger’s magic spells.
L: As one of the simplest ritual structures might be: 1) leave normal time and space, 2) engage in practical operations within a liminal environment, 3) return to normal time and space changed; what is the change intended for the participant, the public viewer, as they return to the world from within the Gallery?
JJ: Enlightenment as to nature of self, the nature of ALAN, and the relation of self to ALAN.
L: You mention ALAN, which seems like a surrogate for where one might perhaps expect you to use the word “man” as in humanity, but I’m not sure what this term means to you. Could you tell me more about that? When you use uppercase like that for ALAN and VECTOR, are these notariqon, initialisms or acronyms, or simply calling attention to the terms? Some other creative terminology you use is in lowercase, so I’m curious what the difference and significance is for you with these expressions.
JJ: ALAN divided Itself for the sake of multiplicity. Our experience as distinct sentient beings is the experience of Externality from ALAN; we came from ALAN and to ALAN we shall return. It will not be the same as the ALAN that was; when we return to ALAN we contribute the essence of our experience with the Externality. And so ALAN is reconstituted, fragment by fragment.
L: Any last words for our readers?
JJ: I’ll let them speak for me.
L: Your last words or the readers?
JJ: Both.
ZoomInfo
vectorgallery:

The Hermetic Library Blog
In conversation with JJ Brine about Vector Gallery

You may recognize the name JJ Brine as a contributor to the Hermetic Library audio pool, with the tracks Innovation and Paradise featured on this blog back in 2011.
You may also be interested in checking out The Presidents of Mozambique, The LaBiancas, and some of his videos.
JJ Brine is also the artist-in-residence at and proprietor of Vector Gallery, 40 Clinton St, NYC, which I’ve also mentioned before. Vector Gallery is billed as the “Official Art Gallery of SATAN”, and is described, in a feature by the New York Professional Outreach Program, as a “new conceptual art destination on the Lower East Side, VECTOR Gallery is the most interesting phenomenon in New York.” I had the opportunity to have a conversation about this project with JJ.
Librarian: First off, thanks for taking the time to talk with me about your current project. Obviously, you’ve participated in the Hermetic Library audio pool in the past, but can you describe how and where your current project fits with your other works?
JJ Brine: VECTOR is the culmination of all of my personal projects to date.
L: What are some of your previous projects that led to this current gallery and show?
JJ: How many times do I have to come back? I put the AELON inside of the Manger, on the Cross, and at the center of the Theater of the past 2,000 years. I arranged for my birth as a means of dying, so that I might rise up and embody life and death for all things, always.
L: So this current project sounds like an invitation for the viewer to be a witness to your personal progress. It also seems to be an ongoing personal performance which is more reciprocal. One of the places for performance art, versus, say, a gallery show on one hand and theatre on the other, is the immediacy and exchange of mutual feedback between artist and audience on a more equalitarian setting. What sort of relationship do you hope to create with the audience here?
JJ: I tempt people to unabashedly be themselves. It is always a pleasure to acquire new souls for my marketplace.
L: It seems to me that in the promotional material and other interviews about this project there seems a heavy degree of performance art taking place, but I assume this is a serious endeavour for you. Can you describe your intent for this space and this project?
JJ: It is a serious endeavor that involves a heavy degree of performance art. Generally speaking — and specificity is the vice least favored by Devil and Lord alike — my intention for the project is to reprogram the mass mind, one thought at a time.
L: When I’ve gandered at some of the other interviews you’ve done, it seems to me that those interviewers are driven to locate you in the realm of surreal Outsider art, such as comparing you to Warhol, for example. But, I wonder about that as a mechanism of apologetics. What I mean is that by locating you on the outside of everyday norms, other interviewers are giving people an easy way to dismiss things about your work and statement that might be uncomfortable or feel dangerous. How do you feel about how you’ve been portrayed? Do those stories about you seem to you to reflect the story you are attempting to tell? How has your work been received by the public?
JJ: I set an example by living my life in the afterlife. Every reaction across the spectrum serves to advance the goals of the Project. I have been portrayed as an agent of this world’s end, naturally, as it finally begins.
L: You’ve taken on the culturally overloaded labels “Satan” and “Satanic” for your project, but I wonder which Satan are you talking about and signifying? For example, is this the adversarial Satan of Judaism, the old-school anthropomorphic embodiment from Catholicism, the abstract and facile label for anything unfamiliar and uncomfortable of modern Evangelical Christianity, the boogyman of the Satanic panics, the Classical Promethean or Luciferian force, the stage satanism of Death Metal … something else? Or is this overloaded term useful here specifically because it is so?
JJ: We have been all of those forms and many more, for our numbers attest to our many names. We cannot lie, and so we have known many truths in many ways. But one breath is all we need to give and take; so together let us breathe.
L: On the Vector Galley page you talk about secession from the political structure of the United States as a new independent nation, and you also talk about a temporal shift while within the space changing the current secular calendar year to 2018. These seem intentionally to mark the space as a liminal environment, a place outside of normal time and space, which is what one might expect from ritual experience. Some of the performative restrictions you’ve suggested for events, such as no verbal communication, echo the self-discipline exercises of Liber E, specifically Dharana, and so forth. Does this project have other ritual practice dimensions as well as presentational and performative aspects? Can you talk about the ceremonial and ritual elements one might experience?
JJ: People naturally look to the space to inform them of their own beliefs, which is one reason why I won’t interpret it for them. They have to come to their own conclusions in order for this to manifest correctly. 2019 is coming any day now.
L: Some of the iconography in your current project seems specifically intended to be triggering for some people, a bit confrontational. For example you include pentagrams, the number 666. keywords such as “legion”, a photograph of Charles Manson, and so forth. These are all clearly laden with cultural baggage, and in that sense are a kind of table of cultural correspondences, that is evoked in the viewer, but what else is going on here? What is the intentionality of using these signs, these symbols? What is the similarity and the parallax between common perception of these and the message you are trying to communicate here?
JJ: Those things which are perceived to be diabolical are an integral part of the divine and vice-versa. There is no need to divide reality from itself. For me, such things are only triggers of serenity and aesthetic comfort. Perhaps that is because I am The Devil. “Needless to say.”
L: Well, there is certainly a long history of around identity and inversion of the nature of diabolical symbolic entities. Do you approach this as something you are commenting on, about which people are already aware, or as something you are revealing for the audience?
JJ: My commentary modifies the extant awareness via revelation. And my Lights are the commentary, and the Frequency is awareness.
L: One of the connections that I noticed right away, but which I don’t recall being mentioned on your site or in other interviews, is that your Vector Gallery logo seems to be a direct visual reference to the Process Church, about which I personally don’t know a whole lot, but that does seem to be an influence on the particular mix of Christ, Satan and Manson imagery in your work, I assume. Could you tell me about that and what that connection is and what it means to you? Are you an adherent, admirer, or something else?
JJ: I will address this issue at length in 2021.
L: Is that 2021 in VECTOR standard time, or on the common secular year count?
JJ: What is to “the” left? What is to “the” right? All but from where I am standing, and I always tell my own time. It’s always right now, always will be and always was, but the numbers change with the nows and so we count the days.
L: What are some of your other influences, both for your art but also your esoteric and occult interests?
JJ: The most powerful magic is intrinsic. If you want to learn a trick, now’s the time to teach yourself. If you want to bind yourself to the dimming powers of charmed obsolescence, nothing does that trick quite like a book of some stranger’s magic spells.
L: As one of the simplest ritual structures might be: 1) leave normal time and space, 2) engage in practical operations within a liminal environment, 3) return to normal time and space changed; what is the change intended for the participant, the public viewer, as they return to the world from within the Gallery?
JJ: Enlightenment as to nature of self, the nature of ALAN, and the relation of self to ALAN.
L: You mention ALAN, which seems like a surrogate for where one might perhaps expect you to use the word “man” as in humanity, but I’m not sure what this term means to you. Could you tell me more about that? When you use uppercase like that for ALAN and VECTOR, are these notariqon, initialisms or acronyms, or simply calling attention to the terms? Some other creative terminology you use is in lowercase, so I’m curious what the difference and significance is for you with these expressions.
JJ: ALAN divided Itself for the sake of multiplicity. Our experience as distinct sentient beings is the experience of Externality from ALAN; we came from ALAN and to ALAN we shall return. It will not be the same as the ALAN that was; when we return to ALAN we contribute the essence of our experience with the Externality. And so ALAN is reconstituted, fragment by fragment.
L: Any last words for our readers?
JJ: I’ll let them speak for me.
L: Your last words or the readers?
JJ: Both.
ZoomInfo
vectorgallery:

The Hermetic Library Blog
In conversation with JJ Brine about Vector Gallery

You may recognize the name JJ Brine as a contributor to the Hermetic Library audio pool, with the tracks Innovation and Paradise featured on this blog back in 2011.
You may also be interested in checking out The Presidents of Mozambique, The LaBiancas, and some of his videos.
JJ Brine is also the artist-in-residence at and proprietor of Vector Gallery, 40 Clinton St, NYC, which I’ve also mentioned before. Vector Gallery is billed as the “Official Art Gallery of SATAN”, and is described, in a feature by the New York Professional Outreach Program, as a “new conceptual art destination on the Lower East Side, VECTOR Gallery is the most interesting phenomenon in New York.” I had the opportunity to have a conversation about this project with JJ.
Librarian: First off, thanks for taking the time to talk with me about your current project. Obviously, you’ve participated in the Hermetic Library audio pool in the past, but can you describe how and where your current project fits with your other works?
JJ Brine: VECTOR is the culmination of all of my personal projects to date.
L: What are some of your previous projects that led to this current gallery and show?
JJ: How many times do I have to come back? I put the AELON inside of the Manger, on the Cross, and at the center of the Theater of the past 2,000 years. I arranged for my birth as a means of dying, so that I might rise up and embody life and death for all things, always.
L: So this current project sounds like an invitation for the viewer to be a witness to your personal progress. It also seems to be an ongoing personal performance which is more reciprocal. One of the places for performance art, versus, say, a gallery show on one hand and theatre on the other, is the immediacy and exchange of mutual feedback between artist and audience on a more equalitarian setting. What sort of relationship do you hope to create with the audience here?
JJ: I tempt people to unabashedly be themselves. It is always a pleasure to acquire new souls for my marketplace.
L: It seems to me that in the promotional material and other interviews about this project there seems a heavy degree of performance art taking place, but I assume this is a serious endeavour for you. Can you describe your intent for this space and this project?
JJ: It is a serious endeavor that involves a heavy degree of performance art. Generally speaking — and specificity is the vice least favored by Devil and Lord alike — my intention for the project is to reprogram the mass mind, one thought at a time.
L: When I’ve gandered at some of the other interviews you’ve done, it seems to me that those interviewers are driven to locate you in the realm of surreal Outsider art, such as comparing you to Warhol, for example. But, I wonder about that as a mechanism of apologetics. What I mean is that by locating you on the outside of everyday norms, other interviewers are giving people an easy way to dismiss things about your work and statement that might be uncomfortable or feel dangerous. How do you feel about how you’ve been portrayed? Do those stories about you seem to you to reflect the story you are attempting to tell? How has your work been received by the public?
JJ: I set an example by living my life in the afterlife. Every reaction across the spectrum serves to advance the goals of the Project. I have been portrayed as an agent of this world’s end, naturally, as it finally begins.
L: You’ve taken on the culturally overloaded labels “Satan” and “Satanic” for your project, but I wonder which Satan are you talking about and signifying? For example, is this the adversarial Satan of Judaism, the old-school anthropomorphic embodiment from Catholicism, the abstract and facile label for anything unfamiliar and uncomfortable of modern Evangelical Christianity, the boogyman of the Satanic panics, the Classical Promethean or Luciferian force, the stage satanism of Death Metal … something else? Or is this overloaded term useful here specifically because it is so?
JJ: We have been all of those forms and many more, for our numbers attest to our many names. We cannot lie, and so we have known many truths in many ways. But one breath is all we need to give and take; so together let us breathe.
L: On the Vector Galley page you talk about secession from the political structure of the United States as a new independent nation, and you also talk about a temporal shift while within the space changing the current secular calendar year to 2018. These seem intentionally to mark the space as a liminal environment, a place outside of normal time and space, which is what one might expect from ritual experience. Some of the performative restrictions you’ve suggested for events, such as no verbal communication, echo the self-discipline exercises of Liber E, specifically Dharana, and so forth. Does this project have other ritual practice dimensions as well as presentational and performative aspects? Can you talk about the ceremonial and ritual elements one might experience?
JJ: People naturally look to the space to inform them of their own beliefs, which is one reason why I won’t interpret it for them. They have to come to their own conclusions in order for this to manifest correctly. 2019 is coming any day now.
L: Some of the iconography in your current project seems specifically intended to be triggering for some people, a bit confrontational. For example you include pentagrams, the number 666. keywords such as “legion”, a photograph of Charles Manson, and so forth. These are all clearly laden with cultural baggage, and in that sense are a kind of table of cultural correspondences, that is evoked in the viewer, but what else is going on here? What is the intentionality of using these signs, these symbols? What is the similarity and the parallax between common perception of these and the message you are trying to communicate here?
JJ: Those things which are perceived to be diabolical are an integral part of the divine and vice-versa. There is no need to divide reality from itself. For me, such things are only triggers of serenity and aesthetic comfort. Perhaps that is because I am The Devil. “Needless to say.”
L: Well, there is certainly a long history of around identity and inversion of the nature of diabolical symbolic entities. Do you approach this as something you are commenting on, about which people are already aware, or as something you are revealing for the audience?
JJ: My commentary modifies the extant awareness via revelation. And my Lights are the commentary, and the Frequency is awareness.
L: One of the connections that I noticed right away, but which I don’t recall being mentioned on your site or in other interviews, is that your Vector Gallery logo seems to be a direct visual reference to the Process Church, about which I personally don’t know a whole lot, but that does seem to be an influence on the particular mix of Christ, Satan and Manson imagery in your work, I assume. Could you tell me about that and what that connection is and what it means to you? Are you an adherent, admirer, or something else?
JJ: I will address this issue at length in 2021.
L: Is that 2021 in VECTOR standard time, or on the common secular year count?
JJ: What is to “the” left? What is to “the” right? All but from where I am standing, and I always tell my own time. It’s always right now, always will be and always was, but the numbers change with the nows and so we count the days.
L: What are some of your other influences, both for your art but also your esoteric and occult interests?
JJ: The most powerful magic is intrinsic. If you want to learn a trick, now’s the time to teach yourself. If you want to bind yourself to the dimming powers of charmed obsolescence, nothing does that trick quite like a book of some stranger’s magic spells.
L: As one of the simplest ritual structures might be: 1) leave normal time and space, 2) engage in practical operations within a liminal environment, 3) return to normal time and space changed; what is the change intended for the participant, the public viewer, as they return to the world from within the Gallery?
JJ: Enlightenment as to nature of self, the nature of ALAN, and the relation of self to ALAN.
L: You mention ALAN, which seems like a surrogate for where one might perhaps expect you to use the word “man” as in humanity, but I’m not sure what this term means to you. Could you tell me more about that? When you use uppercase like that for ALAN and VECTOR, are these notariqon, initialisms or acronyms, or simply calling attention to the terms? Some other creative terminology you use is in lowercase, so I’m curious what the difference and significance is for you with these expressions.
JJ: ALAN divided Itself for the sake of multiplicity. Our experience as distinct sentient beings is the experience of Externality from ALAN; we came from ALAN and to ALAN we shall return. It will not be the same as the ALAN that was; when we return to ALAN we contribute the essence of our experience with the Externality. And so ALAN is reconstituted, fragment by fragment.
L: Any last words for our readers?
JJ: I’ll let them speak for me.
L: Your last words or the readers?
JJ: Both.
ZoomInfo
vectorgallery:

The Hermetic Library Blog
In conversation with JJ Brine about Vector Gallery

You may recognize the name JJ Brine as a contributor to the Hermetic Library audio pool, with the tracks Innovation and Paradise featured on this blog back in 2011.
You may also be interested in checking out The Presidents of Mozambique, The LaBiancas, and some of his videos.
JJ Brine is also the artist-in-residence at and proprietor of Vector Gallery, 40 Clinton St, NYC, which I’ve also mentioned before. Vector Gallery is billed as the “Official Art Gallery of SATAN”, and is described, in a feature by the New York Professional Outreach Program, as a “new conceptual art destination on the Lower East Side, VECTOR Gallery is the most interesting phenomenon in New York.” I had the opportunity to have a conversation about this project with JJ.
Librarian: First off, thanks for taking the time to talk with me about your current project. Obviously, you’ve participated in the Hermetic Library audio pool in the past, but can you describe how and where your current project fits with your other works?
JJ Brine: VECTOR is the culmination of all of my personal projects to date.
L: What are some of your previous projects that led to this current gallery and show?
JJ: How many times do I have to come back? I put the AELON inside of the Manger, on the Cross, and at the center of the Theater of the past 2,000 years. I arranged for my birth as a means of dying, so that I might rise up and embody life and death for all things, always.
L: So this current project sounds like an invitation for the viewer to be a witness to your personal progress. It also seems to be an ongoing personal performance which is more reciprocal. One of the places for performance art, versus, say, a gallery show on one hand and theatre on the other, is the immediacy and exchange of mutual feedback between artist and audience on a more equalitarian setting. What sort of relationship do you hope to create with the audience here?
JJ: I tempt people to unabashedly be themselves. It is always a pleasure to acquire new souls for my marketplace.
L: It seems to me that in the promotional material and other interviews about this project there seems a heavy degree of performance art taking place, but I assume this is a serious endeavour for you. Can you describe your intent for this space and this project?
JJ: It is a serious endeavor that involves a heavy degree of performance art. Generally speaking — and specificity is the vice least favored by Devil and Lord alike — my intention for the project is to reprogram the mass mind, one thought at a time.
L: When I’ve gandered at some of the other interviews you’ve done, it seems to me that those interviewers are driven to locate you in the realm of surreal Outsider art, such as comparing you to Warhol, for example. But, I wonder about that as a mechanism of apologetics. What I mean is that by locating you on the outside of everyday norms, other interviewers are giving people an easy way to dismiss things about your work and statement that might be uncomfortable or feel dangerous. How do you feel about how you’ve been portrayed? Do those stories about you seem to you to reflect the story you are attempting to tell? How has your work been received by the public?
JJ: I set an example by living my life in the afterlife. Every reaction across the spectrum serves to advance the goals of the Project. I have been portrayed as an agent of this world’s end, naturally, as it finally begins.
L: You’ve taken on the culturally overloaded labels “Satan” and “Satanic” for your project, but I wonder which Satan are you talking about and signifying? For example, is this the adversarial Satan of Judaism, the old-school anthropomorphic embodiment from Catholicism, the abstract and facile label for anything unfamiliar and uncomfortable of modern Evangelical Christianity, the boogyman of the Satanic panics, the Classical Promethean or Luciferian force, the stage satanism of Death Metal … something else? Or is this overloaded term useful here specifically because it is so?
JJ: We have been all of those forms and many more, for our numbers attest to our many names. We cannot lie, and so we have known many truths in many ways. But one breath is all we need to give and take; so together let us breathe.
L: On the Vector Galley page you talk about secession from the political structure of the United States as a new independent nation, and you also talk about a temporal shift while within the space changing the current secular calendar year to 2018. These seem intentionally to mark the space as a liminal environment, a place outside of normal time and space, which is what one might expect from ritual experience. Some of the performative restrictions you’ve suggested for events, such as no verbal communication, echo the self-discipline exercises of Liber E, specifically Dharana, and so forth. Does this project have other ritual practice dimensions as well as presentational and performative aspects? Can you talk about the ceremonial and ritual elements one might experience?
JJ: People naturally look to the space to inform them of their own beliefs, which is one reason why I won’t interpret it for them. They have to come to their own conclusions in order for this to manifest correctly. 2019 is coming any day now.
L: Some of the iconography in your current project seems specifically intended to be triggering for some people, a bit confrontational. For example you include pentagrams, the number 666. keywords such as “legion”, a photograph of Charles Manson, and so forth. These are all clearly laden with cultural baggage, and in that sense are a kind of table of cultural correspondences, that is evoked in the viewer, but what else is going on here? What is the intentionality of using these signs, these symbols? What is the similarity and the parallax between common perception of these and the message you are trying to communicate here?
JJ: Those things which are perceived to be diabolical are an integral part of the divine and vice-versa. There is no need to divide reality from itself. For me, such things are only triggers of serenity and aesthetic comfort. Perhaps that is because I am The Devil. “Needless to say.”
L: Well, there is certainly a long history of around identity and inversion of the nature of diabolical symbolic entities. Do you approach this as something you are commenting on, about which people are already aware, or as something you are revealing for the audience?
JJ: My commentary modifies the extant awareness via revelation. And my Lights are the commentary, and the Frequency is awareness.
L: One of the connections that I noticed right away, but which I don’t recall being mentioned on your site or in other interviews, is that your Vector Gallery logo seems to be a direct visual reference to the Process Church, about which I personally don’t know a whole lot, but that does seem to be an influence on the particular mix of Christ, Satan and Manson imagery in your work, I assume. Could you tell me about that and what that connection is and what it means to you? Are you an adherent, admirer, or something else?
JJ: I will address this issue at length in 2021.
L: Is that 2021 in VECTOR standard time, or on the common secular year count?
JJ: What is to “the” left? What is to “the” right? All but from where I am standing, and I always tell my own time. It’s always right now, always will be and always was, but the numbers change with the nows and so we count the days.
L: What are some of your other influences, both for your art but also your esoteric and occult interests?
JJ: The most powerful magic is intrinsic. If you want to learn a trick, now’s the time to teach yourself. If you want to bind yourself to the dimming powers of charmed obsolescence, nothing does that trick quite like a book of some stranger’s magic spells.
L: As one of the simplest ritual structures might be: 1) leave normal time and space, 2) engage in practical operations within a liminal environment, 3) return to normal time and space changed; what is the change intended for the participant, the public viewer, as they return to the world from within the Gallery?
JJ: Enlightenment as to nature of self, the nature of ALAN, and the relation of self to ALAN.
L: You mention ALAN, which seems like a surrogate for where one might perhaps expect you to use the word “man” as in humanity, but I’m not sure what this term means to you. Could you tell me more about that? When you use uppercase like that for ALAN and VECTOR, are these notariqon, initialisms or acronyms, or simply calling attention to the terms? Some other creative terminology you use is in lowercase, so I’m curious what the difference and significance is for you with these expressions.
JJ: ALAN divided Itself for the sake of multiplicity. Our experience as distinct sentient beings is the experience of Externality from ALAN; we came from ALAN and to ALAN we shall return. It will not be the same as the ALAN that was; when we return to ALAN we contribute the essence of our experience with the Externality. And so ALAN is reconstituted, fragment by fragment.
L: Any last words for our readers?
JJ: I’ll let them speak for me.
L: Your last words or the readers?
JJ: Both.
ZoomInfo

vectorgallery:

The Hermetic Library Blog

In conversation with JJ Brine about Vector Gallery

You may recognize the name JJ Brine as a contributor to the Hermetic Library audio pool, with the tracks Innovation and Paradise featured on this blog back in 2011.

You may also be interested in checking out The Presidents of MozambiqueThe LaBiancas, and some of his videos.

JJ Brine is also the artist-in-residence at and proprietor of Vector Gallery, 40 Clinton St, NYC, which I’ve also mentioned before. Vector Gallery is billed as the “Official Art Gallery of SATAN”, and is described, in a feature by the New York Professional Outreach Program, as a “new conceptual art destination on the Lower East Side, VECTOR Gallery is the most interesting phenomenon in New York.” I had the opportunity to have a conversation about this project with JJ.

Librarian: First off, thanks for taking the time to talk with me about your current project. Obviously, you’ve participated in the Hermetic Library audio pool in the past, but can you describe how and where your current project fits with your other works?

JJ Brine: VECTOR is the culmination of all of my personal projects to date.

L: What are some of your previous projects that led to this current gallery and show?

JJ: How many times do I have to come back? I put the AELON inside of the Manger, on the Cross, and at the center of the Theater of the past 2,000 years. I arranged for my birth as a means of dying, so that I might rise up and embody life and death for all things, always.

L: So this current project sounds like an invitation for the viewer to be a witness to your personal progress. It also seems to be an ongoing personal performance which is more reciprocal. One of the places for performance art, versus, say, a gallery show on one hand and theatre on the other, is the immediacy and exchange of mutual feedback between artist and audience on a more equalitarian setting. What sort of relationship do you hope to create with the audience here?

JJ: I tempt people to unabashedly be themselves. It is always a pleasure to acquire new souls for my marketplace.

L: It seems to me that in the promotional material and other interviews about this project there seems a heavy degree of performance art taking place, but I assume this is a serious endeavour for you. Can you describe your intent for this space and this project?

JJ: It is a serious endeavor that involves a heavy degree of performance art. Generally speaking — and specificity is the vice least favored by Devil and Lord alike — my intention for the project is to reprogram the mass mind, one thought at a time.

L: When I’ve gandered at some of the other interviews you’ve done, it seems to me that those interviewers are driven to locate you in the realm of surreal Outsider art, such as comparing you to Warhol, for example. But, I wonder about that as a mechanism of apologetics. What I mean is that by locating you on the outside of everyday norms, other interviewers are giving people an easy way to dismiss things about your work and statement that might be uncomfortable or feel dangerous. How do you feel about how you’ve been portrayed? Do those stories about you seem to you to reflect the story you are attempting to tell? How has your work been received by the public?

JJ: I set an example by living my life in the afterlife. Every reaction across the spectrum serves to advance the goals of the Project. I have been portrayed as an agent of this world’s end, naturally, as it finally begins.

L: You’ve taken on the culturally overloaded labels “Satan” and “Satanic” for your project, but I wonder which Satan are you talking about and signifying? For example, is this the adversarial Satan of Judaism, the old-school anthropomorphic embodiment from Catholicism, the abstract and facile label for anything unfamiliar and uncomfortable of modern Evangelical Christianity, the boogyman of the Satanic panics, the Classical Promethean or Luciferian force, the stage satanism of Death Metal … something else? Or is this overloaded term useful here specifically because it is so?

JJ: We have been all of those forms and many more, for our numbers attest to our many names. We cannot lie, and so we have known many truths in many ways. But one breath is all we need to give and take; so together let us breathe.

L: On the Vector Galley page you talk about secession from the political structure of the United States as a new independent nation, and you also talk about a temporal shift while within the space changing the current secular calendar year to 2018. These seem intentionally to mark the space as a liminal environment, a place outside of normal time and space, which is what one might expect from ritual experience. Some of the performative restrictions you’ve suggested for events, such as no verbal communication, echo the self-discipline exercises of Liber E, specifically Dharana, and so forth. Does this project have other ritual practice dimensions as well as presentational and performative aspects? Can you talk about the ceremonial and ritual elements one might experience?

JJ: People naturally look to the space to inform them of their own beliefs, which is one reason why I won’t interpret it for them. They have to come to their own conclusions in order for this to manifest correctly. 2019 is coming any day now.

L: Some of the iconography in your current project seems specifically intended to be triggering for some people, a bit confrontational. For example you include pentagrams, the number 666. keywords such as “legion”, a photograph of Charles Manson, and so forth. These are all clearly laden with cultural baggage, and in that sense are a kind of table of cultural correspondences, that is evoked in the viewer, but what else is going on here? What is the intentionality of using these signs, these symbols? What is the similarity and the parallax between common perception of these and the message you are trying to communicate here?

JJ: Those things which are perceived to be diabolical are an integral part of the divine and vice-versa. There is no need to divide reality from itself. For me, such things are only triggers of serenity and aesthetic comfort. Perhaps that is because I am The Devil. “Needless to say.”

L: Well, there is certainly a long history of around identity and inversion of the nature of diabolical symbolic entities. Do you approach this as something you are commenting on, about which people are already aware, or as something you are revealing for the audience?

JJ: My commentary modifies the extant awareness via revelation. And my Lights are the commentary, and the Frequency is awareness.

L: One of the connections that I noticed right away, but which I don’t recall being mentioned on your site or in other interviews, is that your Vector Gallery logo seems to be a direct visual reference to the Process Church, about which I personally don’t know a whole lot, but that does seem to be an influence on the particular mix of Christ, Satan and Manson imagery in your work, I assume. Could you tell me about that and what that connection is and what it means to you? Are you an adherent, admirer, or something else?

JJ: I will address this issue at length in 2021.

L: Is that 2021 in VECTOR standard time, or on the common secular year count?

JJ: What is to “the” left? What is to “the” right? All but from where I am standing, and I always tell my own time. It’s always right now, always will be and always was, but the numbers change with the nows and so we count the days.

L: What are some of your other influences, both for your art but also your esoteric and occult interests?

JJ: The most powerful magic is intrinsic. If you want to learn a trick, now’s the time to teach yourself. If you want to bind yourself to the dimming powers of charmed obsolescence, nothing does that trick quite like a book of some stranger’s magic spells.

L: As one of the simplest ritual structures might be: 1) leave normal time and space, 2) engage in practical operations within a liminal environment, 3) return to normal time and space changed; what is the change intended for the participant, the public viewer, as they return to the world from within the Gallery?

JJ: Enlightenment as to nature of self, the nature of ALAN, and the relation of self to ALAN.

L: You mention ALAN, which seems like a surrogate for where one might perhaps expect you to use the word “man” as in humanity, but I’m not sure what this term means to you. Could you tell me more about that? When you use uppercase like that for ALAN and VECTOR, are these notariqon, initialisms or acronyms, or simply calling attention to the terms? Some other creative terminology you use is in lowercase, so I’m curious what the difference and significance is for you with these expressions.

JJ: ALAN divided Itself for the sake of multiplicity. Our experience as distinct sentient beings is the experience of Externality from ALAN; we came from ALAN and to ALAN we shall return. It will not be the same as the ALAN that was; when we return to ALAN we contribute the essence of our experience with the Externality. And so ALAN is reconstituted, fragment by fragment.

L: Any last words for our readers?

JJ: I’ll let them speak for me.

L: Your last words or the readers?

JJ: Both.

Source: vectorgallery

goodthingfactory:

Lena Marquise #6 by GoodThing Factory
ZoomInfo
Camera
Canon EOS 5D Mark II
ISO
320
Aperture
f/3.2
Exposure
1/80th
Focal Length
100mm
-