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“Despite its affective packaging, the disposition to catalogue and aggregate neatly rounded-off identities is in no meaningful way radical. Not only is it evocative of nineteenth-century essentialisms, it also reproduces the mindset of the mass information industry, which, though public opinion and market research, sorts the population into the demographic equivalent of sound bites—market shares, taste communities—all in service to the corporate sales effort and management of the national political agenda.”
― Adolph L. Reed Jr., Class Notes: Posing As Politics and Other Thoughts on the American Scene

“Money is thus the general overturning of individualities…
and adds contradictory attributes...for the entire objective
world of man and nature, from standpoint of its possessor
[money] it therefore serves to exchange every property for
every other, even contradictory property and object...It makes
contractions embrace.
Assume man to be man and his relationship to
the world to be a human one: then you can exchange
love for only love, trust for trust… your real individual…
evoking love in return… does not produce reciprocal love…
then your love is impotent— a misfortune.”
― -Karl Marx, Economic And Philosophic manuscripts of 1844, P.140

“Transgression has been embraced as a virtue within Western social liberalism ever since the 60s, typically applied today as it is in bell hooks’ Teaching to Transgress. So elevated has the virtue of transgression become in the criticism of art, argued Kieran Cashell, that contemporary art critics have been faced with a challenge: ‘either support transgression unconditionally or condemn the tendency and risk obsolescence amid suspicions of critical conservatism’ as the great art critic Robert Hughes often was. But, Cashell wrote, on the value placed upon transgression in contemporary art: ‘In the pursuit of the irrational, art has become negative, nasty and nihilistic.’ Literary critic Anthony Julius has also noted the resulting ‘unreflective contemporary endorsement of the transgressive’. Those who claim that the new right-wing sensibility online today is just more of the same old right, undeserving of attention or differentiation, are wrong. Although it is constantly changing, in this important early stage of its appeal, its ability to assume the aesthetics of counterculture, transgression and nonconformity tells us many things about the nature of its appeal and about the liberal establishment it defines itself against. It has more in common with the 1968 left’s slogan ‘It is forbidden to forbid!’ than it does with anything most recognize as part of any traditionalist right. Instead of interpreting it as part of other right-wing movements, conservative or libertarian, I would argue that the style being channelled by the Pepe meme-posting trolls and online transgressives follows a tradition that can be traced from the eighteenth-century writings of the Marquis de Sade, surviving through to the nineteenth-century Parisian avant-garde, the Surrealists, the rebel rejection of feminized conformity of post-war America and then to what film critics called 1990s ‘male rampage films’ like American Psycho and Fight Club.”
― Angela Nagle, Kill All Normies: Online Culture Wars From 4Chan and Tumblr to Trump and the Alt-Right

“Nietzsche, one of the main thinkers being channeled by rightist chan culture knowingly or otherwise, argued for transgression of the pacifying moral order and instead for a celebration of life as the will to power. As a result, his ideas had appeal to everyone from the Nazis to feminists like Lily Braun. Today, the appeal of his anti-moralism is strong on the alt-right because their goals necessitate the repudiation of Christian codes that Nietzsche characterized as slave morality. Freud, on the other hand, characterized transgression as an anti-civilizational impulse, as part of the antagonism between the freedom of instinctual will and the necessary repressions of civilization. Perhaps the most significant theorist of transgression Georges Bataille inherited his idea of sovereignty from de Sade, stressing self-determination over obedience. Although rightist chan culture was undoubtedly not what Bataille had in mind, the politically fungible ideas and styles of these aesthetic transgressives are echoed in the porn-fuelled shocking content of early /b/ and in the later anti-liberal transgressions of the later /pol/. Bataille revered transgression in and of itself, and like de Sade viewed non-procreative sex as an expression of the sovereign against instrumentalism, what he called ‘expenditure without reserve’. For him excessive behavior without purpose, which also characterizes the sensibility of contemporary meme culture in which enormous human effort is exerted with no obvious personal benefit, was paradigmatically transgressive in an age of Protestant instrumental rationality.”
― Angela Nagle, Kill All Normies: Online Culture Wars From 4Chan and Tumblr to Trump and the Alt-Right