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Miya Black Hearted Cyber Angel Baby

Miya Black Hearted Cyber Angel Baby is the name for a distributed net-art persona active primarily in 2018–2020, associated in retrospect with Remilia Corporation and the hashtag #KALIACC (Kali Yuga Accelerationism). Emerging from imageboard culture and Twitter group chats, Miya combined post-authorship practices, trolling-as-praxis, and cyber-occult aesthetics informed by Serial Experiments Lain, accelerationist theory, and otaku database culture.

Iconography associated with the Miya/#KALIACC milieu, 2019–2020.

Overview

Miya functioned less as a single operator than as an egregrore and rallying point for a network of pseudonymous accounts experimenting with identity dissolution, collaborative role-play, and the manufacture of internet myth. Participants articulated a theory of “post-authorship,” encouraging copy/paste reuse, impersonation, and contradictory positions delivered with rhetorical conviction. In parallel, websites such as zyg.edith.reisen, soma.cx, and exoscience.net presented a collage of esoterica—Hindu cosmology, Lainist metaphysics, health-naturalist tracts, early cyberculture theory—framing Miya as a techno-religious experiment rather than a conventional brand or movement.

The project later became entangled with allegations of the “Nazi Anorexia Cult” confusions about links to other scenes (e.g., BAYC/Yuga Labs, SystemSpace), and archival ambiguity typical of ephemeral net art. Subsequent historiography situates Miya as a precursor and conceptual substrate for Milady Maker and the later, explicitly articulated Network Spirituality of Remilia.

History

Precedents and formation (2016-2018)

Miya’s genealogy runs through post-imageboard subculture (4chan’s /r9k/), ARG-adjacent hoaxes (e.g., Systemspace lore), and accelerationist micro-scenes influenced by CCRU discourse. Early texts associated with the network sketch a “hyperforum” ideal—an ego-suspending, trance-like collective posting state yielding emergent coordination and an egregore-like distributed intelligence.

Earliest writing was Zyg.re essays and fiction. Miya first developed as a character on Pleroma from 2018-2019.

Main activity and deletion (2019–2020)

Operating chiefly on Twitter under the handle popularly known as BPD_GOD and mirrored by auxiliary personas, Miya promoted distributed authorship and the use of a common banner (#KALIACC) to organize spontaneous “operations” (trolls, staged cancels, and hoaxes).

The primary Miya handle was deleted at ~10,000 followers, after which the banner persisted in fragmentary form across alt accounts and websites.

Miya/#KALIACC has been characterized a deliberately amorphous, ownerless cultural engine: anyone could “be Miya,” no canonical doctrine existed, and cancel operations were treated as participatory theater designed to expose the moral economy of platform shaming.

External investigations—most notably the Japanese longform essay Down the Milady Maker Rabbithole (Aug 27, 2022)—attempted the first systematic map of the network’s sites, figures, and ideas for a non-Western audience. Later theoretical writing integrated Miya into Remilia’s articulation of Network Spirituality.

Revival and Cancel (2020)

Full article: Nazi Anorexia Cult

Revived and cancelled by Sonya Qafi in 2020.

Key Concepts

  • Post-authorship Miya promotes radical reuse, impersonation, and contradiction; identity is a tool, not a constraint.
  • Persona-egregore / techno-deity. Through repetition, invocation, and imitation, a persona accretes power as an idea “living in others’ minds,” approaching a digital analog soul (Lainist metaphysics).
  • Trolling-as-praxis. Staged cancellations, hoaxes, and “operations” (including playing both accuser and accused) are treated as media critique and culture-jamming rather than mere lulz.

Infrastructure and Text Corpus

Associated sites formed a ramshackle electronic Kowloon Walled City of texts and links:

  • zyg.edith.reisen — theory collages (Evola/Devi, Land, Kaczynski), cyber-shamanism notes.
  • exoscience.net — dissident-science zines (orgone, ether, medical skepticism) and an opening manifesto credited to “Miya,” with early-web nostalgia banners cross-linking the network.
  • kaliacc.org — archives and the “Eulogy” page compiling memorial notes after Miya’s deletion, widely reposted/transcribed.

Philosophical Context

Miya’s discourse blends:

  • Accelerationism (CCRU afterlives, meme-politics, patchwork imaginaries).
  • Lainism (persona → egregore → techno-deity; “ascension” through distributed belief).
  • Database Culture (database aesthetics, performative identity, network art).
  • Cyber-occult syncretism (Hindu yuga cycles reframed by 20th-century esoteric fascism; later remixed as meme-esoterica).

Later commentators argue Miya prefigures Remilia’s “non-art” stance: not institutional art about accelerationism, but an extra-institutional acceleration of cultural forms via networked play, posting, and market-adjacent mythmaking.

References

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