The Hollow Earth Society, like all proper arts movements, has various organizing precepts (principles, values), which may be elucidated here in fuller detail at some future date. For now, believe us that these are our ideals:
More is more. Why not delve deeply into every nook, along all vectors of a notion? Is the fear that, on doing so, some crucially purity is lost? The purity of fear—fear of work, of lack of perfection. But since nothing is ever perfect, there is nothing to fear.
Proceed from idea along various physical/temporal vectors. We must not fear our big ideas. We must make our dreams real. We must make the fantastical physical. Our art proceeds from the ideal into the ever-changing muck of the real—or it seems to. By rigorously applying our ideas always in the real in all ways, in new modes, we ensure the concept is flat with the world, part of the world, not some high-minded mental activity apart from it.
Contra religion, science—rigor, method, testability, peer review—is the appropriate method of uncovering the truths of the real. Why then would it be insufficient to the task of uncovering the important, unconscious, mythopoetic truths of the unseen, ideal, or purely bullshitish world? Of course it must be played in a new key. We are not scientists, but artists. We must be rigorous without spinning our wheels; iterative without being driven by commerce or mindless factory rules. We must be like the Royal Society—breaking new mental ground (but ethically this time) and open to whatever we find there.
Chronophrenia: Atemporality & Moment
We are not bound by our era or any other. Yet it is important to speak to our moment. We are not products or positions or “children of,” yet we cannot abandon the now, pretend it does not exist, or—like so many hipsters—reach back to an old aesthetic merely because it is elegant or interesting; we must dig deeper and use our borrowings more efficiently. We must be smarter chrononauts.
Proto (Retrofuture NOW)
We must be prepared to evolve constantly. We are past the initial manic successes and cento-driven modes of postmodernism, and we must seek our own models, using what had worked from past and present without abandoning the now: Likewise we must redefine our view of history: It is not closed. We are still and will always be in a state of protean flux—as artists and as humans.
Surrealism (The Unconscious)
We believe the great human truths cannot be hit head on, but must bubble up while we sleep—spill out while we iterate art. We commend the OULIPO and even the uneven Surrealists, Dadaists, and like groups for their initial application of rigor to dream.
Push quotationalism until it reaches a new sincerity. Borrow styles and materials and tropes until they synthesize a mode that is truly your own. Trust that you are sincere in what you do; that your unconscious has a higher principle at work.
Para (“Sideness,” Unknowledge)
We must become comfortable in the shadows—of art, of the academy. Strangely, contra science, we must admit that not only do we not know everything, but that no process will allow us to know everything.
Humanism & Universality
All humans are our audience. Each human is a potential collaborator. We will never discriminate due to race (which is largely constructed), background (which in previous eras was such a shackle—we are sympathetic to Marx that the social standing of your ancestors should not ruin you), sexual preference (which is for many people momentary and mutable).
The Erotic & The Grotesque
The terrifying is life-affirming. The life-denying is reassuring. We are assemblages of cosmic mud, and therefore we are free.