Not Just Bikes / r/fuckcars / Urbanists / New Urbanism / Car-Free / Anti-Car - People and grifters who hate personal transport, freedom, cars, roads, suburbs, and are obsessed with city planning and urban design

[reptile baht spaniard rid]

Kid should have ridden a bike right off the bus.

Checkmate, bikethiests.

 

[IdiotPlusPlus]

They really fucking hate that he points out the logic of the decisions and the complexity of real world requirements, he even points out that if planners just work with Emergency Services, then they can still have their 'road diet' crap they desperately want as long as they provide alt routes or mountable kerbs, really shows it's a religion to them and since he's a heretic they can't accept things like 'physics' and the views of people who aren't retarded xD

 

[In the Sick of It]

Bold of them to assume it was just one bad interaction with a cyclist that led Meat to hate them all.

My interactions with cyclists in a car have been fairly annoying, but as a pedestrian it's been a lot worse. Many cyclists won't hesitate to intimidate, scream insults, or run you down just because you didn't immediately jump off the path even though you also have a right to be walking there. I've heard of them spitting on people and hitting them as they speed by, even yelling at children. In the DC area, there was a cyclist that would speed by families walking on the W&OD trail and flick them off, stand up on his bike, and moon them, proudly showing his ass to children. Normies don't hate cyclists because of one little interaction. It's a lifetime of seeing their rage and entitlement directed at anyone who ends up in their field of view. I fully believe the reason they fantasize about crazed drivers desperate to run them over is because they are desperate to have that privilege. Not even the biggest cyclist hater in a car wants to actually kill anyone.

 

[reptile baht spaniard rid]

Normies don't hate cyclists because of one little interaction. It's a lifetime of seeing their rage and entitlement directed at anyone who ends up in their field of view.

And because there's no punishment for them, ever, so all there is left is vigilante consequences when they get steamrolled (preferably by a train, because that's the most amusing).

If the police ticketed asshole cyclists at about the frequency that they pull over egregious speeders, the amount of latent hate would be much lower, because when one was an ass to you you'd comfort yourself with "he'll get his someday" - but that isn't the case. We all know that the only comeuppance for an asshole cyclist is bodily injury or death, preferably self-inflicted so everyone can laugh.

 

[Slap47]

Hungary is a corrupt shithole and I guess you argue the space could be better used, but having a castle like this just seems like deluxe green space that people would actually visit (If Orban does not make it some palace for himself).

I will not watch this whole ramble, but his argument that its not really authentic is goofy.
Japan and the US are famous for having a billion festivals and alot of them have become treasured traditions that we associate with being very old. Most of these were started in the post-war boom of the 1950s. A tradition does not have to be something ancient. I do not know why Eurobrains believe otherwise.

 

[SpiderBitch]

Bold of them to assume it was just one bad interaction with a cyclist that led Meat to hate them all.

Funny fact:
A shitton of dutch, belgian etc people hate 'wielrenners', people that are hobby cyclists who ride those fast bikes with helmets, because so many of them behave awfully in traffic to cars, pedestrians AND regular cyclists.

Spoiler: Cyclist vs hobby cyclist

'Fietser' cyclist:

'Wielrenner' cyclist:

Inlcuding but not limited to pushing people (including normal cyclists who will then fall off their bike, sometimes directly into a ditch) because they get mad someones in the way of their heccin speed, not biking carefully around kids on bikes who are still wobbly, ignoring general traffic laws and social rules, yelling, etc, and are overall obnoxious even when not on the bike (and basically have their cock out with their silly tight pants, also they usually stink p bad)


Cunt hobby cyclists in the netherlands starterpack


Google translate: Cyclists (hobby kind) as a nuisance: 'It is not without reason that everyone hates them'


Article google translation:
The cyclist who kneed a five-year-old girl in the High Fens on Christmas Day 2020 is demanding compensation of 4,500 euros. That's the price of his bike. According to the man in his fifties, the video that was distributed, showing him pushing the child, has had an impact on his private life and reputation.

Even people in bicycle countries hate the kind of cyclist that seems to be the main kind in the US etc

 

[Xarpho's Return]

Funny fact:
A shitton of dutch, belgian etc people hate 'wielrenners', people that are hobby cyclists who ride those fast bikes with helmets, because so many of them behave awfully in traffic to regular cyclists, pedestrians AND cars.

This is why American cyclists demanding cycling infrastructure should not be kowtowed to, they'll never use it, because cycling infrastructure requires paying attentions to lights and signals.

 

[FlipTopBox]

If the local law is to stop and let kids to act like dumb little monsters then bikers should the very least follow the spirit of the law and slow down to such speed that they can come to an immediate stop if a gremlin child jumps in front of them.

Imagine a-logging actual literal children lmao

 

[jje100010001]

Hungary is a corrupt shithole and I guess you argue the space could be better used, but having a castle like this just seems like deluxe green space that people would actually visit (If Orban does not make it some palace for himself).

I will not watch this whole ramble, but his argument that its not really authentic is goofy.
Japan and the US are famous for having a billion festivals and alot of them have become treasured traditions that we associate with being very old. Most of these were started in the post-war boom of the 1950s. A tradition does not have to be something ancient. I do not know why Eurobrains believe otherwise.

Authenticity is what people make of it, and considering a certain style of architecture to be authentic to only a certain era is end of history-brained that ignores the fact that people throughout history have been creatively mixing architecture from multiple eras, often with innovations inherent to their own eras (i.e. the 19th century's combination of gothic and iron, or art deco's marriage of technology and archaeology), often to astonishing novel results. Ironically, modernism today is orthodoxy (despite being dead as a style itself)- and architects often don't realize they are enforcing a globohomo status-quo through the exclusion of other styles.

One needs to consider that every building will be of its era- even historic recreations. Even Disneyland itself (often cited as the arch-instance of in-authenticity) provides the urbanism that people desperately want in a world flooded with failed modernism and awful spaces, and is now 70 years old, with decades of history behind it.

In this Budapest case, while the facades are classical the innards modern, the entire project is not quite so different from those that take an old building, gut it, and create modern interiors while preserving the exterior- a product of its era. To add to this, tradition means preserving the embers, not the ashes. One means a living tradition that can reemerge from the roots when needed, the other means museum pieces that will inevitably be lost through the march of time.

Here is a great little article on it:

SHANZHAI CONSERVATISM​

By Scott Beauchamp

From Ezra Pound to Byung-Chul Han: Why Tradition is “Fake”​

“And then went down to the ship…”
— Ezra Pound, Canto I

When Ezra Pound began his Cantos with this verse he meant that we have to be like Odysseus and commune with the dead before we can begin to make our journey home. Beginning in medias res suggests the tapped root is still fecund. We’ve only to cut away the deadwood and get at the sap again. Or, Pound’s ship might as well have been Theseus’, making the same trip to a sacred island every year according to tradition, to commemorate the founding king of Athens’ triumph over the monster the Minotaur, yet a ship ever so often renewed, part by part, according to necessity. Is the tradition reconstructed in the Cantos the same tradition ripped apart and stored plank by moldering plank in the forgotten cellars of popular culture? Is it ‘fake’ for having been reconstructed and remade in order to be kept seaworthy?

Too many American conservatives think that something can only be venerated once it’s been put in cold storage. Or as a younger Pound wrote:

For an old bitch gone in the teeth,
For a botched civilization,

Charm, smiling at the good mouth,
Quick eyes gone under earth’s lid,

For two gross of broken statues,
For a few thousand battered books.

The first major Western poet to obsess over Eastern poetry, Pound is a meet introduction to the East. In Japan, there is a contemporary Shinto correlative of the “Ship of Theseus”: The Ise Shrine. Unlike so many empty cathedrals in the West, millions of pilgrims make the journey to worship each year. The Ise temple is 1,300 years old. It is also rebuilt from scratch every year. These two facts are not contradictory. As the Korean-German philosopher Byung-Chul Han explains in his book Shanzhai:

“This religious practice is so alien to Western art historians that after heated debate UNESCO removed this Shinto temple from the list of World Heritage sites. For the experts at UNESCO the shrine is twenty years old at most. In this case, which is the original and which is the copy? This is a total inversion of the relationship between original and copy. Or the difference between original and copy vanishes altogether. Instead of a difference between original and copy, there appears a difference between old and new. We could even say that the copy is more original than the original, or the copy is closer to the original than the original, for the older the building becomes the further it is from its original state. A reproduction would restore it, as it were, to its ‘original state’, especially since it is not linked to any particular artist.”

In Han’s Shanzhai, The Ise Shrine becomes the metaphor at the center. Like all his texts, it’s the length of a pamphlet, not a treatise, but it’s composed of elements so heavy that a spoonful weighs a ton. According to Han’s thesis, Western culture is overly obsessed with specific authenticity, with being and essence, so much so that it eradicates the possibility of true cultural continuity. Imagine instead of having progeny we extended our physical existence by being stuffed, taxidermized, and sat at the kitchen table. It’s morbid. It’s not continuity in the true sense. Chesterton wrote about true conservation being the constant repainting of a white fence rather than letting it flake and rot, but the image doesn’t go far enough. Instead, imagine constantly rebuilding the fence in response to shifts in the landscape, changes in legal title, etc. Don’t simply repaint the fence, but remember and understand its form and purpose — change will again and again be needed if it is to serve as border and demarcation.

Preservation, in other words, doesn’t halt growth, but presents a constant readmittance to the path of growth. Han tells us that in Chinese painting a masterpiece is never static. It is “regularly overwritten by connoisseurs and collectors” who inscribe traces of themselves onto the image in the form of signs and seals, altering the image in order to keep its pulse. The change is continual, and the transcription is permanent. In this sense, conservatism is a way. A method. “The work empties itself out,” writes Han, “to become a generative, communicative locus of inscriptions. The more famous a work is, the more inscriptions it has. It presents itself as a palimpsest.”

This is how memory works, too. In 1896, Freud wrote in a letter to Wilhelm Fliess: “I am working on the assumption that our psychical mechanism has come about by a process of stratification: the material present in the shape of memory-traces is from time to time subjected to a rearrangement in accordance with fresh circumstances — is, as it were, transcribed. Thus what is essentially new in my theory is the thesis that memory is present not once but several times over, that it is registered in various species of ‘signs’.” Memories are not unchanging monuments dead inside of us. They are, as it were, fabricated by us in a complex psychic process and as such are made and remade continuously.

Maybe the difference between our cultures isn’t so stark as Han makes it out to be. The notion that history is a series of discrete and unique ruptures is a relatively recent one in the West. Mostly we’ve adhered closer to something like Fortschöpfung, or a “persisting creation” as Han puts it, composed of minute continuities and muted transformations. Writing and rewriting. Remembering and re-remembering. Even in contemporary times (was ‘the contemporary’ created by a rupture?) there has always been a small platoon of cultural Hiroo Onoda’s keeping the manuscript business going.

Pound is the most obvious. When he enjoined us to “Make it new!” he was appealing to a kind of Fortschöpfung gathering up of the materials of culture and to do something with them to keep it alive. It only lives through the doing, in only lives through the making. The “it” is the word hoard, the “make” is the act of reverential handling, and the “new” is the palimpsest that registers pulse. Poet and critic R.P. Blackmur explained The Cantos by writing in his book The Double Agent that: “The Cantos are not complex, they are complicated; they are not arrayed by logic or driven by pursuing emotion, they are connected because they follow one another, are set side by side, and because an anecdote, an allusion or a sentence begun in one Canto may be continued in another and may never be completed at all; and as for a theme to be realized, they seem to have only, like Mauberley, the general sense of continuity — not unity — which may arise in the mind when read seriatim. The Cantos are what Mr. Pound himself called them in a passage now excised from the canon, a rag-bag.”

My own suspicion is that the “rag-bag” is a result of Pound trying (mostly failing) to expunge the presence of his personality from the poem. The story that results from the palimpsest, ignoring some of the crasser political injunctions, is one of a cult of personality becoming the norm of culture. Being solipsistically cut off from ourselves and one another and the past and, ironically, the very criterion by which we would even be able to individuate ourselves. This is why we don’t understand the importance of copies. It’s worth going back to Han again on Eastern conception of copies:

“The Far East is not familiar with [the] cult of the original. It has developed a completely different technique of preservation that might be more effective than conservation or restoration. This takes place through continual reproduction. This technique completely abolishes the difference between original and replica. We might also say that originals preserve themselves through copies. Nature provides the model. The organism also renews itself through continual cell replacement. After a certain period of time the organism is a replica of itself. The old cells are simply replaced by new cell materials. In this case, the question of an original does not arise.”

We of course used to understand this in the West, and some of us still do. William Gaddis: “Originality is a device that untalented people use to impress other untalented people to protect themselves from talented people…” Dustin Illingworth gives the best description of the spirit animating Gaddis’s The Recognitions when he writes: “The effect of The Recognitions is palimpsestic. We descend through layers of artifice, one after another. Double-talk pollutes the novel’s atmosphere. Counterfeit currencies circulate continuously. Words are recycled, or regurgitated, or falsely attributed. Originality — “that romantic disease,” as Wyatt’s [the protagonist and art forger] teacher calls it — is routinely disparaged as a misunderstanding of the artist’s duty. To be original is to do something one’s own way because one couldn’t do it the right way. The reproduction of an archetype — in this case, the fifteenth-century Flemish painting — is transfiguring only insofar as it is devotional. Before Wyatt meets Recktall Brown, his forgeries are pious acts of appreciation. But the moment the unscrupulous dealer asks him to sign his recreations — as Hugo van der Goes, say — their sanctity is destroyed. A once reverent act has become complicit in the market’s depredations.” Or as Pound put it: The temple is holy because it is not for sale. A copy becomes suffused with meaning through the reverential act of copying itself. Put a name on it and sell it and the reverence curdles.

This all leads us back to the original question about the Ise Shrine. Unauthentic? UNESCO, an organization which itself is built out of ideas still young enough to be suckling, has the audacity to put itself in such a position to judge the authenticity of a shrine where millions of people worship, as it has been for thousands of years, simply because the floorboards were eating sunlight last year. The notion of a cargo cult comes to mind. In this case, the United Nations must be like the Pacific tribes building cardboard airports in the hopes of manifesting cargo. Bare rationality and presentism are the cardboard. Meaning is the cargo. Keep making engine noises with your mouth and wait for the gods to smile. Meanwhile, Ise is being rebuilt.

https://im1776.com/2021/06/29/shanzhai-conservatism/

 

[LaxerBRO]

They point the "too broke to own a car line", which, lol, but not the point MeatCanyon shows of how throughout the years Cycalists have always been assholes, like taking over the streets in the last Friday of a month and fucking everyone over on the way home from work.

I suggest slow peddling in front of the streetcars / trams they love so much. Perhaps I will slowly bike at 2-3 mph and stop often of breaks or snacks.

 

[IdiotPlusPlus]

I suggest slow peddling in front of the streetcars / trams they love so much. Perhaps I will slowly bike at 2-3 mph and stop often of breaks or snacks.

Oh they would absolutely be fucking bounced off the cowcatchers based on the tram drivers I know xD, they are about 30 seconds away from mowing down pedestrians who ignore the gong and the warning horn at any one time, being sick to death of fuckwits who cannot see a 10+ tonne Tram the size of a Semi Trailer, let alone some prick cyclist, they all have hated cyclists more than anyone else I've met lol.

Fun fact: our local trams have electromagnetic emergency brakes, in a emergency they drop a large energized magnet onto the tracks to help with braking because the low rolling resistance of the steel wheels means even with sanders they couldn't stop fast enough in an emergency, where as unfortunately now they can stop fast enough to not run down a lycra asshole, at the expense of 'supermanning' any passenger not paying attention to the 'hold on in case of sudden stop' warnings xD

 

[Xarpho's Return]

Authenticity is what people make of it, and considering a certain style of architecture to be authentic to only a certain era is end of history-brained that ignores the fact that people throughout history have been creatively mixing architecture from multiple eras, often with innovations inherent to their own eras (i.e. the 19th century's combination of gothic and iron, or art deco's marriage of technology and archaeology), often to astonishing novel results. Ironically, modernism today is orthodoxy (despite ironically being dead as a style itself)- and architects often don't realize they are enforcing a globohomo status-quo through the exclusion of other styles.

One needs to consider that every building will be of its era- even historic recreations. Even Disneyland itself (often cited as the arch-instance of in-authenticity) provides the urbanism that people desperately want in a world flooded with failed modernism and awful spaces, and is now 70 years old, with decades of history behind it.

In this Budapest case, while the facades are classical the innards modern, the entire project is not quite so different from those that take an old building, gut it, and create modern interiors while preserving the exterior- a product of its era. To add to this, tradition means preserving the embers, not the ashes. One means a living tradition that can reemerge from the roots when needed, the other means museum pieces that will inevitably be lost through the march of time.

Much of the architecture debate is very similar to modern urban design, either the old is bad and the new is good, or the other way around.

For architecture, a lot of it depends on taste. Some nice buildings get demolished, some ugly buildings still stand the test of time, and ultimately we're at the whims of city leaders and developers. Buildings that were seen once as tacky are now nostalgic symbols of the past (see: fast food buildings, particularly McDonald's, Taco Bell, and Pizza Hut).

The worst of post-WWII urban planning, including Robert Moses-style "my way or the highway" (quite literally!) building and mass urban renewal is seen as "bad" now, but modern urban projects, including bicycle lanes everywhere, permanently altering neighborhoods by sticking boxes in every blank space imaginable, and so on is "good", all with the same arrogance without understanding the irony of the situation.

Frankly, I think if the city is "beautiful" or "ugly", whether by design or architecture, is determined a lot more by people than by appearance. Paris, London, Rome, and a handful of others have some clearly grandiose designs, layouts, and buildings that were built as the most important city in an empire that controlled a good chunk of the world at one point or another, and while those buildings and layouts still largely exist, the people are proof alone that the Empire is a long distant memory.

 

[quaawaa]

/r/fuckcars is mad that every normie hates them:






A motorcyclist, retard:


People who constantly break traffic laws assume everyone else also does:




Those damn Canadians are racist against our train-loving friends from the Subcontinent:





Source (Archive)

---

Yes:


Also, who takes commuter/intercity rail to school?



Someone says train toilets are disgusting, only to be told that they're no worse than bar toilets:


I don't think car drivers are the ones leaving bottles of piss next to the bike lane:


Source (Archive)

 

[TORtlEMUStRaNSUS]

Bikefags suck but the kid was at fault there. He just jumped in front of the bike between the cars without looking at all. The biker couldn't have stopped in time because he couldn't see him and the child was acting recklessly. Not looking is just brainless behavior and I hope he got serious talking to because doing shit like that will get you killed.

>child at fault
Are you an antinatalist by any chance?

 

[FILTH Tourist]

I will not watch this whole ramble, but his argument that its not really authentic is goofy.
Japan and the US are famous for having a billion festivals and alot of them have become treasured traditions that we associate with being very old. Most of these were started in the post-war boom of the 1950s. A tradition does not have to be something ancient. I do not know why Eurobrains believe otherwise.

Because America is young as a country and most of our traditions and festivals were made up somewhat arbitrarily in recored history. Euro traditions and festivals were arbitrarily made up long enough ago that their origins are lost to history, so it's more legit in their logic.

But after watching the video I don't think this guy really understands the point. People aren't just mad about brutalist architecture, they are mad that they were built over the ruins of their grand city by a conquering empire, after said empire bombed, raped, and pillaged them. Do you think this guy would go up to bat for old colonial administration buildings in Asia and Africa if the local governments there wanted to knock it down and rebuild it in one of their traditional styles?

 

[SpiderBitch]

>child at fault
Are you an antinatalist by any chance?

Many antinatalists are psycho enough that they'd probably be happy about a child running onto roads without looking were it not to also potentially endanger others tbh so I doubt it

And imo it is a bit retarded of the parents to not drill in to be careful about a bikelane that the kid presumably has to cross twice a day for however long they've been going to school

 

[FILTH Tourist]

Many antinatalists are psycho enough that they'd probably be happy about a child running onto roads without looking were it not to also potentially endanger others tbh so I doubt it

Nah they would still be happy because they can bitch about how evil and dumb kids are for doing stupid shit like... trying to get off the bus and onto the sidewalk as quickly as they can.

 

[reptile baht spaniard rid]

More likely they’re mad at the oven dodger not being a bike dodger.

Call Greer and ask for hitler in a bike.jpg here.

 

[Markass the Worst]

View attachment 6843969
View attachment 6843971

Yes:
View attachment 6843970

Also, who takes commuter/intercity rail to school?

View attachment 6843975

Someone says train toilets are disgusting, only to be told that they're no worse than bar toilets:
View attachment 6843977

I don't think car drivers are the ones leaving bottles of piss next to the bike lane:
View attachment 6843974

Source (Archive)

What is this constant obsession with being able to use the toilet while moving? Not even piss fetishists are fixated on this.

I don't understand why they can't just pull over or get off of transit to use the bathroom. It's not like you can take a piss while riding a bike either.

Also planes have toilets too but I never see car-hating retards cheering for that form of transit.

 

[SpiderBitch]

Nah they would still be happy because they can bitch about how evil and dumb kids are for doing stupid shit like... trying to get off the bus and onto the sidewalk as quickly as they can.

They were already on a sidewalk, no? Im assuming those white stripes on the bike lane are some kinda crosswalk between the strip of sidewalk between the parked cars and the lane (likely put there to safely get to/from your parked car) and the big sidewalk. So no real need to rush other than normal kid impulsiveness.
At least, thats been the case in places ive been to with designs almost identical to this.

That being said, biker still shouldve slowed down, because those white triangles next to the stripes on the lane usually mean that you dont have right of way to any other traffic and have to slow down to see if any traffic comes (also because of the crosswalk (!!!) thing), so f him for that definitely and he's def to blame in this situation, especially for any injuries.
Dutch people actually have to take driving and traffic rule exams but for cycling in elementary school for a reason, this thing only works with a mountain of rules.

Buuuut with the speed the kid ran onto the lane they still couldve been hit by a rule-following biker who had slown down to look but continued bc they didn't see any potential crossers, just not nearly as hard (and not nearly as dangerous, would still hurt and bruise but they'd just fall on their ass rather than being flung away multiple feet).

Not looking both ways before running onto a lane you know is there is objectively pretty stupid/impulsive, but kids are little dumdums that do stupid shit, that's a generally accpted truth, the thing about childfree antinatalist types is that they HATE kids for it and want them to be held as accountable as adults/suffer unreasonably severe consequences for it while normal people are normal about it and create safety measures based around that stupidity being predictable (like lowering the speed limits).