BEAT ME

BEAT ME strips the fear from brutality and collar-pins it as enjoyment.
The view plays in first-person survival mode while jacked between the many victim's of glorification.
What are we playing for?
Gratification.
In a global economy built by predators, the prey still has fun.
How disarming—to see the target look more gay than the marksman.
Who goes home at night into a bed of lies, believing they truly won it all?
Is it the hottest, best, biggest joke to look in the mirror the morning after and smile into a fake face?
One must convince themselves they are what they say.

BEAT ME to raw skin that chafes and falls to the floor.
Grind all the way down to the essence.
The blade becomes flawless only through endless repetitive friction.
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In this story there is HER, IT, HIM, and THE BETTER EGOS.
HER eyes don't lie to you though you may have to look into them to hear the truth.
HIM's just profiting, there's no connection in this world more than a money dart to her skin.
IT keeps building, though, why does It keep building?
THE BETTER EGOS all hate each other, they're just better than the rest.

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SEQUENCE I
IN OUR SHOWERS THE SOAP IS NEVER CLEAN

The opening scene presents an elevated, bird’s-eye perspective that collapses inward, producing a spatial effect similar to an accordion juncture in time, or a gravitational well. IT and HER occupy a shared temporal field. The setting is an intimate bathroom—an architectural space associated with hygiene—rendered permeable and unstable.Money falls continuously, replacing water, producing an image of abundance that fails its intended function. Cleanliness is suggested structurally but denied materially.IT lies supine atop refuse, blindfolded beneath designer sunglasses. The costume—a degraded French maid uniform—frames the body as stylized labor. A knife rests nearby, not in action but in waiting. IT is presented as infrastructure rather than subject: equivalent to the toilet, a fixture designed for use.The compositional emphasis shifts to HER’s face, distorted by proximity to light. Her expression is imminent and defensive. The space rotates again, now hovering over HER’s bathroom, where falling money multiplies into a kaleidoscopic field, potentially illegible to the viewer. HER stands upright but cannot count. Nausea replaces measurement. The body remains functional. Work must continue.
There is no time for reflection—only $€£¥ $€£¥ $€£¥.
What more does HER need to be?
The sequence establishes a closed circuit: circulation without purification, abundance without relief.
IT remains available.

SEQUENCE II
PLAYING MURDER GAMES UNTIL NATURE IS CRIMSON IN ALLEGORY

THE BETTER EGOS appear as a collective formation defined by symmetry and opposition. Their presence is competitive rather than communal. Mirrors are unnecessary; reflection is assumed.This sequence stages violence as ritualized encounter. The figures strip their chests to exposure, presenting the body as proof of endurance. Cold functions as an equalizing force, not a deterrent. Each figure claims supremacy while requiring the elimination of the other.Blood enters the scene chromatically, marking escalation rather than injury. The struggle continues until certainty replaces motion. The violence concludes only when dominance is stabilized. The sequence frames ego as a self-consuming system that equates victory with annihilation.

“And if anyone tried to release them and lead them upward, would they not kill him if they could get their hands on him?”
— Plato, The Republic, Book VII

SEQUENCE III
HER SURVIVES ONLY BY RUNNING DIRECT TO INSANITY

The visual field contracts. HER withdraws from spectacle and relocates inward. She is no longer displayed but sustained through repetition. Running becomes the dominant gesture. Movement is continuous, meditative, and compulsory. Money reappears not as object but as direction—an invisible force organizing trajectory. This pursuit is identified as HER’s central error. The chase produces exhaustion rather than reward. Insanity emerges not as collapse but as prolonged overextension. Survival is achieved through motion alone.

SEQUENCE IV
WE ALL PLAY SIMULATE DEATH IN RED-CODED PESTICIDE

The space fractures into overlapping realities. The phrase BEAT ME becomes briefly legible across the hallucinatory environment of THE BETTER EGOS, who have now entered a stage of enjoyment. Blood is no longer incidental; it is performative. HER is positioned beneath them, subjected to repeated impact. The body absorbs force as material rather than resisting it. THE BETTER EGOS are shown suspended beneath robotic mechanisms. Limbs are reconstructed. Genetic code appears adjustable. Violence becomes procedural. IT reactivates, awakening into renewed use. A new figure, HIM, appears removed from physical engagement. He occupies leisure. He imagines perfection. Judgment and scrutiny surround him without consequence. Elsewhere, HER sits in snow, struggling to stabilize her vision. The knees that once propelled her now fail. Still, she must run again. Stasis equals death. HIM shapes money into darts. He participates in leisure play at a distance. IT is the easiest target. The dart does not miss, it engulfs all. Flames conclude the action.

SEQUENCE V
DELICIOUS PROFITS ARE ONLY IT’S SLAUGHTER AWAY;
EXHIBIT 4

Fragments of IT now occupy the environment—walls, floors, surfaces—distributed evenly. HIM remains unchanged, fulfilling the same function. THE BETTER EGOS search for IT’s location, drawn by attention. Their priority remains centrality, even at the cost of self-destruction. IT becomes conscious of her display.
EXHIBIT 4 introduces a tomato: ripe, red, cultivated. Its value is emphasized through description. A woman in a French maid costume crushes it in her hand. Seeds fall. Pulp stains skin. The gesture is not destruction but desecration. The tomato is revealed as more valued than the laboring body. The fruit is sacred. The woman is replaceable. The tomato functions as currency. The body functions as stage.
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IT’s face should be the mess.
IT’s face should be the mess.
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SEQUENCE VI
RECALIBRATE THE EGOS ALL USED UP

All figures remain functional except HIM, who continues throwing darts without purpose. Waste replaces target.HER has endured sustained damage, though she conceals it. THE BETTER EGOS turn inward, submitting themselves to external judgment. The process dismantles and rebuilds them until ego collapses. They refuse further pursuit. They exit the system. Their disappearance occurs beneath HER’s continued motion. She refuses death.

SEQUENCE VII
LIFELESS HANDS FLOAT LIKE ASH-LADEN CLOUDS

HER appears in multiple iterations, receiving the cumulative damage. A lifeless hand rests in mineral-blue water. The image is still, controlled, purified.

IT does not reappear.
There is no search.
No residue remains to locate.

THE BETTER EGOS no longer register.
HIM withdraws, finished.

HER’s refusal to die alters her status. She exceeds prey. The question remains unresolved: how much endurance precedes peace?
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The final image holds on HER, submerged, her weight supported by water.
HER heavy head bears over this calm of HER.
The system pauses.
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May HER rest in peace.

END
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Let's rip open victimization to bare annihilation of the self.

‍BEAT ME interrogates the erotic mechanics of power by staging the body as both instrument and commodity. The speaker becomes a site of disciplinary inscription—where domination is not merely enacted but theorized through its own spectacle. In this piece, submission is articulated not as degradation but as a strategic, almost militant form of self-reconstruction. The work refuses sanitization: it insists that the erotic economy of power is always already violent, always already entangled with capital, jealousy, and the raw hunger for significance. Neuroscience reveals that the superior temporal sulcus (STS) region of the brain decodes micro-expressions of every social interaction; in parallel, Social Exchange Theory suggests that human relationships are formed using a subjective cost-benefit analysis. People are constantly (often unconsciously) assessing what they are giving and what they are receiving in an interaction.The vocal persona lyricizing the piece exists in a register where devotion becomes indistinguishable from exploitation. The speaker is brutally aware that respect is never inherent—it must be extracted from someone who possesses the authority to withhold it. Her plea to be “beaten” is not simply masochistic; it is a demand for epistemological clarity. She wants to know power through the body, to understand it not as abstract structure but as direct physical pedagogy. In this framework, violence becomes a pedagogue, a grotesque but effective educator.The language of the piece aligns with the logics of late capitalism, where subjects willingly contort themselves to earn value within systems designed to consume them. The speaker understands herself as a portfolio asset, something to be managed, disciplined, optimized. Her desire to be trained—to be hit, corrected, tightened into form—mirrors the self-annihilating performances of labor demanded by contemporary culture. The piece exposes how capitalism eroticizes obedience and how desire itself becomes scripted according to the rhythms of production.What makes BEAT ME critically potent is its refusal to moralize this dynamic. Instead, it exposes the erotic thrill embedded in hierarchy, the intoxicating seduction of yielding autonomy in exchange for attention. The speaker identifies jealousy not as pathology but as a structuring force—an affective technology used to secure her position within an unstable relational economy. She would rather be envied violently than ignored politely. The piece makes this preference explicit and refuses shame for it. Submission here is not innocence—it is highly literate. The speaker is not a naïve participant but a theorist of her own objectification. She recognizes the asymmetry of her desire and chooses to inhabit it fully. Her erotic logic is closer to war strategy than romance: she studies domination as one studies battlefield terrain, leveraging her own vulnerability as a weapon. The vulgarity in the piece is not gratuitous; it functions as methodological transparency, revealing the corporeal truths that academic discourse often sterilizes. The final undertone of BEAT ME is its confrontation with interior emptiness. Discipline becomes a way to fill the void, to locate meaning through bodily impact when language fails. She believes that transformation requires rupture—that to be seen, one must be split open. Thus the piece navigates the paradox of craving harm as proof of connection, of wanting to be marked because marks are a form of memory. Ultimately, BEAT ME forces its audience to confront an uncomfortable fact:
that power, desire, capitalism, and the body are not separate systems but one continuous circuit of charge and discharge.
The work argues that erotic submission is not an escape from this circuit but a lucid expression of it—one that exposes, with unflinching vulgar clarity, the infrastructures of longing that shape contemporary identity.

Please keep continuing to beat me.

Original 4 minute teck track produced
by @19825 Music
in Belgium

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Please keep continuing to beat me.

Original 4 minute teck track produced by @19825 Music in Belgium

Your browser cannot display this PDF you working cog.

Original 4 minute teck track produced
by @19825 Music
in Belgium