Monday, April 28, 2008

Yes, I am He

An innovative artist - not least marketing-wise - is a refreshing step away from the fake-psychotic, pseudo oppressed stereotype who permanently seem to be on the verge of cutting the odd ear, or set the opus ablaze in an act of impassioned bohemian self-obsession.

A regular on auction site Ebay, the artist himself upon enquiry forwarded me the following:

"Yes, I am Pierre Marcel. You can see lots of paintings and photos on Flickr.com - search for "pierre marcel" there, or click on one of the links within my Ebay pages or my web site at lepommier.net or applestrophe.com Thanks, Pierre."

While too surrealistic to ever pass for objective art, the blog is not entirely without appreciation. Keep up the good work, Pierre and leave the dramatics to the talentless wannabe's.

Saturday, April 12, 2008

Corporal Hitler's Master of Ceremonies

Sir Winston S. Churchill in his Nobel Prize winning "Memoirs of the Second World War" touches briefly on one of the most colourful people of the interbellum. Without context or further identification - we'll fill that in later - he mentions meeting one Putzi Hanfstaengl during the summer of 1932 while on a research trip for the purposes of his book "Life of Marlborough".

"At the Regina Hotel a gentleman introduced himself (...) and spoke a great deal about "the Fueher", with whom he appeared to be intimate. As he seemed to be a talkative fellow, speaking excellent English, I asked him to dine. (...) After dinner he went to the piano and played and sang many tunes and songs in such a remarkable style (...) He was a great entertainer (...) He said I ought to meet him (the Fuehrer), and that nothing would be easier to arrange. Herr Hitler came every day to the hotel about five o'clock, and would be very glad to see me."

Churchill is giving an account of his considerations, in the process giving us a lesson in patriotism, chivalry, and realism. It just goes to show how 'politically correct' we've all become! We'll come back to the subject later in the post.

"I had no national prejudices against Hitler at the time. I knew little of his doctrine or record and nothing of his character. I admire men who stand up for their country in defeat, even though I am on the other side. He had a perfect right to be a patriotic German if he chose. I always wanted England, Germany and France to be friends."

Then Churchill happened to pass a few adverse remarks, questioning Herr Hitler's "so violent views about the Jews," and the arrangement was stopped short from the German side. "This was the last I saw of 'Putzi' (...) Thus Hitler lost the only chance of seeing me."

Putzi Hanfstaengl resurfaces in another literary master piece. The joy of one of the best books I have come across in years could easily have been spoiled by the politically correct activities of the Dutch publishers who, for reasons best known to themselves, are marketing the book to an audience of multicultis, describing the protagonist as pleading for 'the multicultural society' and 'diversity'. This is a ludicrous notion in the context of the interbellum. Perhaps such a philistine approach to marketing has occurred in other countries as well. The English language 2006 Random House Trade Edition I know for a fact to have escaped the addition of 'narrarives'.

"The Orientalist" by Tom Reiss is not a piece of cheap propaganda for activists to exploit for their own purposes. It is a thoroughly and uniquely researched work that accounts hitherto less known historical and personal facts. It is well written, and chronicles a fascinating and remarkable story, encompassing four empires, three continents, three religions, two revolutions and two world wars. I have already written about it on earlier occasions, in "History Class: of agit-prop, revolution and terror!".

An episode during the early period of the advancing Nazi party, touches the surreal and the absurd in a truly hilarious manner. Reiss describes Putzi - "little squirt" in Bavarian dialect - as Hitler's Harvard educated Press Secretary, creative cheerleader and organiser of Hitler's Flying Circus ......

"the fastest political tour in history, using trains, planes and automobiles to shuttle the führer around the country (...) a three-engine Lufthansa D 2001 and three long, black Mercedes saloons (...) raced together across Germany, with Hitler in the lead car, the top down, a leather flight helmet keeping his hair in place. (...) Hitler thrived on the crazy hours and the speed of it all. It was a political blitzkrieg. But the real how was in the air, when the candidate would descend on German cities (...). The sympathetic German papers took to calling these the Freedom Flights, and they contributed mightily to the growing myth of Hitler as Germany's 'dashing' savior - its redeeming angel from the skies, descending on all parts if the fatherland. (...)."

Churchill must have caught Hanfstaegnl in 1932 during one of the Flying Circus' political road tours. Unbeknownst to Churchill the entertainer's full name was Ernst Sedgwick Hanfstaengl, "mother a Sedgwick from the old New England family. (Two of his grandfathers had been Civil War generals; one of them, a German immigrant 48er, was a pallbearer at Abraham Lincoln's funeral.) (...) His father was one of the most prominent men in Munich in the late nineteenth century, and the Hanfstaengls had visitors such as Mark Twain, Richard Strauss, and Fridtjof Nanson, the famous arctic explorer and passport inventor, to their lavish villa. How on earth had this white-shoe boy gotten involved with a bunch of lower class, anti-Semite beer-hall politicians?"

"Putzi was the Nazi movement's only Harvard man. Though a figure of fun among the hard-core Nazis - Putzi played 'Sam' to Hitler's Bogart, entertaining him at the end of the day with his piano playing - he was instrumental in making Nazism salonfähig (...) Hitler used Hanfstaengl's affable nature and white-shoe pedigree to forge many of his important links to German and American rich people (...) Putzi was the connection to old American, British and German families."

In 1922 Putzi talks to a young American military attaché in Germany, Captain Truman-Smith, because "all the revolutionary nonsense down in Bavaria had the embassy concerned". "Putzi wrote in his 1957 memoir 'Unheard Witness' how Truman-Smith provides him with a Press ticket to a meeting with "the most remarkable fellow I've ever come across", Adolf Hitler. Truman-Smith requests him to have a look and report back. He heard Hitler speak at the Kindlkeller about Kemal Ataturk and the example of Mussolini, and ... joined the movement."

An inventive cheerleader for the Harvard football team, Putzi transferred that position to Hitler's Nazi entourage. (...) According to Putzi's memoir, he and Hitler were together at the house of the Nazi's semiofficial photographer, Heinrich Hoffmann, in Munich at the time:

I started playing some of the football marches I had picked up at Harvard. I explained to Hitler all the business about cheerleaders and marches, counter-marches and deliberate whipping up of hysterical enthusiasm. I told him about the thousands of spectators being made to roar Harvard, Harvard, Harvard, rah, rah, rah!" in unison and of the hypnotic effect of this sort of thing. I played him some of the Sousa marches and then my own Falarah [Putzi's contribution to the Harvard cheerleading repertoire], to show how it could be done by adapting German tunes, and gave them all that boyant beat so characteristic of American brass-band music. I had Hitler fairly shouting with enthusiasm. "That is it, Hanfstaengl, that is what we need for the movement, marvelous, and he pranced up and down the room like a drum majorette.

After that he had the SA band practicing the same thing. I even wrote a dozen marches or so myself over the course of the years, including the one that was played by the brown-shirt columns as they marched through the Brandenburger Tor on the day he took over power (...) that is the origin of it and I suppose I must take my share of the blame."

That summer (of 1932) saw daily gun battles between Nazis and Communists on the streets of Berlin. Christopher Isherwood, living in Berlin at the time, thought there was something false and ritualistic about the street fighting, as though both parties were in it mainly for publicity purposes."

(...) There was no doubt that both sides (...) had an interest in breaking down public order and scaring everyone away from the center parties (...) a second round of national elections proved the extremists' violence making strategies effective: both Nazis and Communists gained at the expense of moderate parties (...)."

After the elections of November 1932 "even the pretense of fighting between the Nazis and Communists was dropped. It was time to deliver the coup de grâce to the bourgeois center - the German democracy (...) Communists and Nazis stood arm in arm, one shouting 'Red Front,' the other 'Heil Hitler!" (...) rows of low-rent housing hung with alternating rows of fluttering swastika and hammer-and-sickle flags."

We forget the methods and purposes of terrorism and violence at our peril. Here's the news from Athens a few weekens ago.

- More excerpts from "The Orientalist" by Tom Reiss on the history of the two Socialist movements in future postings.

Thursday, April 10, 2008

La Vie Nazi en Rose ... II

- Continued from Part I -

Our post "La Vie Nazi en Rose" needs urgent updating. A problem has been detected that is reflected in the latter part of the post's title. Apparently André Zucca's colour photos of Paris during Nazi occupation were a bit too much, well ... en rose. This is hardly surprising given that Zucca was requisitioned by the Nazis to work for propaganda magazine Signal.

EURSOC is reporting on the fall-out of the recent exhibition "Parisians under the Occupation" at the Bibliothèque Historique de la Ville de Paris. It would seem that the shadow of World War II is still too overpowering to allow an objective, historical perspective. Either that, or ...

The People's Cube recently commented on the postmodern inability to take emotional distance - even from events as remote as Biblical times. Enjoy the Cube's correct opinions for progressive liberals in "The Renegade Exodus and Other Crimes of Moses". But now back to the Zucca exhibit:
EURSOC: "Don't Mention The War"

It seems the exhibition has caused red cheeks in the Paris city hall. The assistant cultural affairs mayor said that it the expo was "embarrassing, ambiguous and badly explained." The mayor's office quickly released a leaflet claiming that Zucca's photographs gave a "distorted" picture of life under Nazi rule. The work, it added, "chooses to show nothing, or little, of the reality of Occupation and its terrible consequences." The problem seems to be that Zucca depicted life as carrying on much as normal.

It's true, some of the images are almost glamorous. Little is seen of the suffering of the city's Jews (just two yellow stars in the show) and there isn't much in the way of the jackboot of Nazi oppression. According to the Paris city hall, this is because Zucca was following his German masters' brief to show Paris life continuing much as normal - hence his use of colour film for German magazines, a rare commodity in wartime France.

More sceptical souls, including the Independent's John Lichfield, suggest that Zucca was merely showing what he saw: In his defence, Lichfield quotes philosopher Jean-Paul Sartre, who was scathing about the myth of Parisians being ordered about by gun-toting Nazi officers. Sartre wrote that Parisians invented this fantasy in order to assuage their guilt at not doing enough to resist the Occupation: In the years since the war ended, France has cultivated the image of suffering Paris, doubtless inspired by General de Gaulle's myth that during the war, Frenchmen were either Resistance (the vast majority) or collaborators. (...) >>>

Jean-Paul Sartre was a persistent Mao apologist in the face of genocide towards Rousseauian agrarianism. He should know about myths and self-delusion ...

Wednesday, April 09, 2008

A Luminous American Riot

ArtDaily: "The Golden Age of American Impressionism on view at the Memorial Art Gallery in Rochester"

The Memorial Art Gallery of the University of Rochester through June 15. This major traveling exhibition showcases 54 rarely-seen paintings from the golden age of American Impressionism (ca. 1880–1920), from one of the country’s premier museums. Included are luminous works by such masters as William Merritt Chase, William Glackens, Lilian Westcott Hale, Childe Hassam, Maurice Prendergast and John Henry Twachtman.

Members of the first generation to absorb the aesthetics of French Impressionism, these artists applied the brighter palette and broken brushwork of their European counterparts to the American landscape. Also on view is American Impressionism from the Permanent Collection, which brings together fourteen works from MAG’s collection, including many on view for the first time. Many of the artists, among them George Leonard Herdle (the Gallery’s first director) and Emma Lampert Cooper, have Rochester connections. (...) >>>

- Caption: Maurice Prendergast (1859-1924) - Ponte della Palia (1898-99 and 1922) -

Thursday, April 03, 2008

Feed Frenzy

Much as we tried, quick fixes and disinfestation proved no match for the bug that nestled itself in the old feed. It has now been ground into the cat's breakfast and is no longer available.

We apologize to subscribers for what turned out to be quite a lengthy glitch.

In the Feedburner chicklet is a new feed-link available which to date is running smoothly. We kindly request you to renew your subscription, using that link.

We appreciate your feedback.

Cheers to all readers and thanks for taking an interest in our posts,

Cassandra.

Wednesday, April 02, 2008

The Postmodern Anti-War Hero: "The Red Baron"

The hypocrisy of the postmodern let's-pretend-there's-no-reality brigade reaches Jagdgeschwader height in the latest anti-war product, "The Red Baron"! Instead of breaching the taboo against German war heroism, another one is erected by means of political correctness, against the reality of war and its place in human existence. One barely dares mention its name for all the tut-tuts and feigned indignation towards the facts of history.

To the postmodern cohort in Hollywood modern Western history serves but one purpose only: a showcase for the embarrassing caricature that it is collection of 'continual conflict, wars of almost unimaginable destruction, colonialism and despair and religious persecution', 'wave after wave of ethnic cleansing', culminating in the conclusion that 'war and genocide are not part of the history of Europe, but constitute the whole of its history'.

This rhetorical parlour trick aims to deflect attention away from the 110 million or so victims that were butchered on the altars of the postmodern forebears, to wit the essentially anti-modern, anti-liberal and anti-human ideologies of nationalism, communism and National Socialism.

The rape of reality is well illustrated by the German World War I hero portrayed as the typical post counter-culture anti-war dialectician àvant la lettre: "He says he's not going to be the immortal god that Berlin wants him to be; he knew millions were lured into the trenches with such propaganda," he said.

Postmodernists are also blissfully unaware that sentimentality has nothing to do with empathy or sensitivity towards others, but according to the grandfather of psychology C.G. Jung, is a superstructure overlaying brutality. But of this deontological feature (the ethics of good-intention-bad-result-never-mind), of the aim justifying the means, we were already aware ...
BBC: "German war film challenges taboo", by Tristana Moore

He is a handsome, blond, young pilot - and he's not your typical baddie. In the new film The Red Baron, which had its premiere in Berlin on Monday night, Germany's legendary flying ace, Manfred von Richthofen, is portrayed as an emotional, sensitive man. (...)

Manfred von Richthofen, who shot down 80 British, Canadian and Australian pilots during World War I, is played by the dashing German actor, Matthias Schweighoefer. The film shows how 24-year-old Von Richthofen and his fellow airmen treat the war like a sport, hunting down the enemy in lively air-battle scenes. (...)

The film, with its sentimental touch, makes you aware of Von Richthofen's humanity. The young officer falls to pieces when his friends die, he buys a harmonica for a friend, and he feels embarrassed because he cannot dance well. (...) >>>


- Caption: Von Richthofen Squadron - Hat tip "The House of Gutenberg" -

Related:
- IMb slideshow of the movie
- "The Death of von Richthofen"
- "The Red Baron: Rittmeister Manfred Albrecht Freiherr von Richthofen"

Of Diplomatic Heritage and Panography

Czech Daily Monitor: "Senate opens gifts gallery"

The Czech Senate has opened a part of its underground area under the Valdstejnsky Palace as it transformed it into the Trcka gallery with a permanent exhibition of the gifts to and by senators (...) The cellar rooms with the original floor made of stones and bricks include commemorative plaques, ornamented vases and china from tens of countries such as the far-away Philippines. (...)

Visitors will be attracted by an icon from Georgian Patriarch Ilya II made of tiny stones of various colours, daggers from Yemen and a silver bust of Mother Theresa by chairwoman of Albanian parliament Jozefina Topalli.

The biggest exhibits are the Kazakh and South African national costumes that filled the showcase in the entry room. (...) Along with putting the gifts on display, the gallery will also serve for the projection of documentary films from 1918, 1938, 1948 and 1968, all significant years in the country's history. (...) >>>

- Caption: Wallenstein Palace in a remarkable panograph by CorBas -

Monday, March 31, 2008

Early Struggles

Yahoo!News: "Early Picasso nude found in English bedroom"

"A nude painting by Pablo Picasso when he was aged about 20 has been found in the bedroom of a house in south-west England, the auctioneers selling it said Monday. "Etreinte" (Embrace), a watercolour, shows a nude Picasso entwined in an intimate embrace with his girlfriend Louise Lenoir, known as Odette. It was painted in 1901 or 1902, when the Spanish artist would have been 20 or 21 and still struggling for recognition, and was authenticated by Picasso in 1969. (...) It was a breathtaking find (...) The identity of the owner is unknown but is believed to be a member of an international royal family, British media reported." >>>

Here's a Picasso, and an "Etreinte", but a much later work ...

Friday, March 28, 2008

A Lecture from Athens

Following yesterday's posting "Objective Art: Toulouse-Lautrec - Paris, Athens" detailing the remarkable exhibition at the Herakleidon, "Toulouse-Lautrec and the Belle Epoque in Paris and Athens" running until 4th May, we are happy to announce that on Wednesday 16th April, collector and founder of the Herakleidon Museum, Paul Firos, will be hosting a lecture “The Life, Times and Art of Henri de Toulouse-Lautrec”.



The hall is open from 18:00. Lecture starts at 18:30. Entrance is free, but due to the limited number of seats, attendants are kindly requested to make reservations by telephone 210 34 61 981 (Mon.-Fr. 9:00-17:00) or via email.



Leaving you with an atmospheric picture of Athens central Syntagma Square around 1905, by M. Veloudios, from the Hellenic Literary and Historical Archives collection.

Objective Art: Toulouse-Lautrec - Paris, Athens

Herakleidon: "Toulouse-Lautrec and the Belle Epoque in Paris and Athens"

(...) Toulouse-Lautrec (1864-1901) is best known for his works depicting scenes from cabarets, theaters, dance halls, and brothels. These were themes that the artist lived, beginning in 1885 when he moved to Montmartre and immersed himself in its nightlife. He wanted to show life as it is, not as it should be, but this objectivity was not without empathy or humor. (...)

At the center of this exhibition is a rare collection of approximately 70 original works on paper by Henri de Toulouse-Lautrec, which the organizers have placed in the historical, social, artistic, and aesthetic context of the time (1800 to the beginning of the 20th century). Furthermore, there has been an effort to approximate the prevailing historical and artistic conditions of urban Athens of the same era, with the goal of revealing the influence of the French Belle Epoque on the social and artistic life of Athens and to establish a number of obvious parallels. (...)

- Caption: Henri de Toulouse-Lautrec, La Troupe de Mademoiselle Eglantine, 1896, lithograph -

The urban way of life and the means of entertainment in Greece during the last two decades of the 19th century have been re-created with the help of rare archival material, mainly from the collections of the Hellenic Literary and Historical Archives (E.L.I.A.), the Benaki Museum Photographic Archive, Alpha Bank and Mr. Petros Vergos. Publicity posters, often created by important Greek artists such as Gyzis and Galanos, calendar and journal covers, photographs and postcards, theatrical programs with emphasis on French repertoire, and literary passages invite the visitor to become acquainted with the flavor of that era. (...)

Herakleidon, Experience in Visual Arts is located at16 Herakleidon St., Thissio, Tel.: 210 34 61 981 and runs to 4th May. The museum is open on Tue-Sat: 13:00-21:00, Sun: 11:00-19:00, Monday: closed

- Caption: Man on Horseback, Acropolis in the background (ca.1900), Benaki Museum -

The exhibition has been extended! See part II >>>

Saturday, March 22, 2008

Miraux

Yahoo!News: "Thousands Stuck with Fake Art Prints"

Take a second look at that signed Picasso print you bought on eBay. A ring of art counterfeiters has sold thousands of prints since 1999 bearing the forged signatures of Picasso, Miro, Dali and other famous artists to buyers around the world.










- Caption: Faux Miraux -

"Thousands of people will learn they ... bought a fake," said Chicago-based U.S. Attorney Patrick Fitzgerald, who announced indictments on Wednesday charging two Americans, a Spaniard from Barcelona, and two Italians from Milan and Monsummano with multiple counts of fraud. (...) >>>








- Caption: Genuine Miro signature -

Friday, March 21, 2008

La Vie Nazi en Rose ...

EURSOC: "Paris in the Occupation"

Opening today at the Bibliothèque Historique de la Ville de Paris is an exhibition of colour photographs by André Zucca titled "Parisians under the Occupation."

At a time when all photography in Paris was strictly monitored by the Nazis, Zucca (who died in 1973) was the only French snapper working in colour. He was authorised to photograph daily life in the French capital for a German magazine distributed in occupied nations: The Nazis wanted to show how life continued in the city despite the Occupation. So there are street and café scenes (in both rich and poor quartiers), with now and again, smiling workers and chic women, with now and again the shock of a Nazi soldier on the street, or, in the case of a photo of the rue de Rivoli, Nazi banners draped on the occupiers' headquarters. The exhibition continues until June 1. >>>


- Update: "La Vie Nazi en Rose", part II

Thursday, March 20, 2008

Modern Defiance in China

Art Daily: "Record Set For A Chinese Contemporary Ink Painting at Auction"

Sotheby’s fifth sale of Contemporary Art Asia: China Korea Japan in New York brought a solid $23,210,525 (est. $23.1/33.4 million) and was highlighted by Zeng Fanzhi’s Mask Series No. 11, 1996, a triptych showing the strivings of individualism amidst the communist collective that was latent but still present during the Cultural Revolution of Zeng’s youth, which sold for $1,127,000 to a European buyer (lot 11, est. $800,000/1 million). (...) >>>

Wednesday, March 19, 2008

Meet Ed, he's a pet

CNN: "Mummified dinosaur unearthed in North Dakota" (watch the audio-slide show)

Using tiny brushes and chisels, workers picking at a big greenish-black rock in the basement of North Dakota's state museum are meticulously uncovering something amazing: a nearly complete dinosaur, skin and all.

Unlike almost every other dinosaur fossil ever found, the Edmontosaurus named Dakota, a duckbilled dinosaur unearthed in southwestern North Dakota in 2004, is covered by fossilized skin that is hard as iron. It's among just a few mummified dinosaurs in the world, say the researchers who are slowly freeing it from a 65-million-year-old rock tomb.


"This is the closest many people will ever get to seeing what large parts of a dinosaur actually looked like, in the flesh," said Phillip Manning, a paleontologist at Manchester University in England, a member of the international team researching Dakota. (...) >>>

Monday, March 17, 2008

Boris' Many Faces

Celebrating Boris' presentation of the London Mayor campaign's housing manifesto, with another of Boris' manifestations:


- Caption: oil by Felicity Gill -

On being painted by Felicity Gill, Boris says: "It was a privilege and a glorified ego massage!"

Sunday, March 16, 2008

Ideological Archeology: Kant (III)

Often erroneously classified as part of the Enlightenment, Immanuel Kant (1724-1804) in his mindset is entirely collectivist and subjectivist: in his Second Preface of the first Critique he writes that he found it ...

"necessary to deny knowledge in order to make room for faith," ...

hardly the words of a scientific thinker. Needless to say that his subsequent philosophical findings supported subjectivism. Kant was an austere Lutheran Pietist and a great admirer of Rousseau. The individual to him represented little more than a miserable sinner in need of a strong master, only good as canon-fodder to teach him some morals.

Kant foresees in a teleological progress towards an end-game by means of strive, war and discord. This brings man as a species to a more ethically evolved order. The process will ultimately culminate in a world government, an international and cosmopolitan federation of states, awaiting the coming of the Day of Judgment. This is the Hidden Plan of Nature according to Kant.

The Enlighteners working towards the separation of Church and State, the philosophers based on Rousseau, Kant and Hegel - even the atheists - confusing 'is' with 'ought', reverted to recreating 'paradises' on earth.

The tenets of the Enlightenment were abandoned by the Counter-Enlighteners and replaced by philosophical principles reflecting the faith: realism made way for idea-lism, and individualism for collectivism; intuition and revelation were adopted as sources of knowledge rather than reason and experience, social theories replaced liberal capitalist theory.

Today's postmoderns are adept followers of Rousseau, Kant and Hegel, faithfully subscribing to their most irrational claims. The mind versus body dualism, reflecting the macro and microcosm, tends to identify the mind with the soul, giving rise to visualizing the mind as non-physical pure substance, distinct from the physical organs and brain. Rather then thinking of them as tools to knowledge, this leads us to view the senses and the brain as obstacles, standing in the way between the mind and reality.

Moreover, some sensorial imperfections (colour blindness, for example) in some people, induced Kant to declare the senses unsound tools to knowledge overall. To clarify the Kantian position on the separation of the mind from reality, Objectivist philosopher Stephen Hicks makes a feminist analogy: to support Kant is to state that women are absolutely autonomous and free to do as they please, as long as it is within the confines of the kitchen; Kant imprisons the mind in the skull and isolates it from the real world.

It is ironic that the Counter-Enlighteners, who sought to prevent the godless, spiritless and amoral future that would be the result of reason and individualism, have brought about precisely that by Kant's subjectivism and his imprisonment of the mind. Hicks: "Once reason is in principle severed from reality, one enters a different philosophical universe altogether."

Kant also held that reality conforms to reason, not vice versa. This marks the infamous shift from objectivity to subjectivity, the basis of the postmodern egocentricist pathology of the Master of the Universe syndrom (each individual creates his own personal version of reality: If I die overnight, will the sun still rise tomorrow?).

Anthony Rizzi in "Science before Science: a Guide to Thinking in the 21st Century" laments Kant's now codified idea-lism ...
" ... the default declared position in academia and in nearly all other environments. Kant's success is partly explained by his tying his philosphical system to Newtonian physics [... which he wanted to] have a certainty that it did not have. However, Kant thought that one could not know the thing itself
(...) Kant and Kantians múst say, "Kant doesn't know anything about anything." Such is always the end of the matter when one forgets that all knowledge in man comes through the senses. We non-Kantians can be simultaneously more accurate and kinder; we can say, "The foundational principles of Kant's philosophical system were wrong, but still he knew a lot of other things."

This enthusiasm is at once tempered by a footnote:

"Many attribute to Kant a developed skill in physics. Physisist and renowned philosopher and historian of science, Fr. Stanley Jaki has shown that Kant's knowledge and ability in physics was minimal (though Kant considered himself another Newton) (...) the book [Universal Natural History] is a storehouse of inaccuracies, contradictions and amateurism and plain fancy."
What else is new in subjectivism?

- Filed on Articles in "The Dystopia of Paradise", cat. Postmodernism -

Friday, March 14, 2008

Botero: A World of his Own ...

... true to the subjectivist Master of the Universe* syndrome, Art Daily announces that "Using a broad range of media, the Colombian-born Botero has created a world of his own, one that is at once accessible and enigmatic (...)" ...

Art Daily: "The Delaware Art Museum Presents Retrospective "The Baroque World of Fernando Botero"

The Delaware Art Museum presents The Baroque World of Fernando Botero, a major retrospective exhibition featuring 100 paintings, sculptures, and drawings, on view March 15, 2008 – June 8, 2008. Fernando Botero (b. 1932), well known for his extravagantly rounded figures, is one of the most internationally popular artists working today. (...) >>>


* Since Kant found it wise and "necessary to deny knowledge in order to make room for faith," thereby facilitating the idea that consciousness evolves separated from reality; and Hegel held that consciousness creates reality instead of vice versa; and contradictions moreover are thus a phenomenon that can be ignored; we are stuck with the idea that people can create "their own worlds". Since postmodernists take everything literally, we are supposed to accept that Botero's universe of excessively round figures, although enigmatic, is somehow accessible. No wonder it's a jungle out there ...

Thursday, March 13, 2008

Ideological Archeology: Rousseau (II)

Swiss-French philosopher Jean-Jacques Rousseau's (1712-1778) personal life is marked by traits sounding awkwardly contemporary. Self-pity and paranoia play see-saw with wrong choices and deflecting blame. Man is by nature good, it is society that is the cause of corruption and vice. Iconic for Rousseauian thought is the image of the noble savage, man in his natural state before his fall from Paradise.

There is nothing ambiguous about his ethics however: he believed his 'doctrine of two substances' to be the key to the absolute quality of good and evil [Jonathan I. Israel, Radical Enlightenment, 2001, p., 2001, p. 719]. In an example in a classical setting he saw in Athenian decadence the degrading influence of reason. He preferred the cruder, militaristic Spartans, an unspoiled and nobler tribe. Their callous practice of exposing babies to nature - now in dispute - may well have inspired Rousseau to expose his own five illegitimate children to the hardships of the Paris orphanage.

Although Rousseau died in 1778, before the French Revolution, his justification of violence to power was the source of inspiration of the Reign of Terror that the Jacobins unleashed during the latter part of the rebellion. In 1792 the French 'citizen army' faced the Prussian forces at Valmy. In a psychological victory they prevented them from marching on to Paris to restore the monarchy. Earlier in the capital a mob had stormed the Tuilleries Palace. In the massacres over a thousand political prisoners were brutally hacked to death. Fabre d'Eglantine declared: "In the towns, let the blood of traitors be the first Holocaust to Liberty, so that in advancing to meet the common enemy, we leave nothing behind to disquiet us!" [Wildmonk]

After "the first Holocaust to Liberty" many more would follow. It is a specific feature, typical of Rousseau's constellation of ideas. The chief ingredients as expressed in "Profession de Foi" are a sweeping rejection of tradition, Revelation, and all institutionalized authority. [Radical Enlightenment, p. 718]

In Roussea's ideas we find the source of every anti-Liberal, violent revolution ever since the French Revolution went off the Lockean track. Rousseau is ultimately the father of many noxious and lethal traditions besides: Romanticism, redistributive Socialism, philosophical agrarianism, conservative Communitarianism, Nazism, and more to the point, the Counter-Enlightenment and postmodernism. Cultures, adopting Rousseauian ideas found in them a mirror of some aspect of their own identity. [Wildmonk]

Many have descended into the abyss of collectivist hell. In France his radical egalitarianism led to The Reign of Terror, in Germany to Left and Right Socialism with known result, in Russia and the Far East to communism, starvation and slaughter on grandiose scales. In China Mao Tse Tung's Great Leap Forward resulted in the greatest mass murder in human history and in Cambodia the Khmer Rouge's extermination campaign to establish Rousseauian agrarianism resulted in the deaths of well over twenty percent of the population. [Wildmonk] If this is not evil, frankly I don't know what is.

Why Rousseau is different
Rousseau stands apart in many respects. He marks the fault-line in Western tradition between Anglo-American and Continental lines of thought, and forms the point of departure from the Enlightenment because he is essentially anti-modern [Wildmonk]. While loosely following the traditional path of Enlightenment thought, his radical stance differs notably on the crucial issues of anti-individualism [Isaiah Berlin, "Against the Current", 2001], anti-capitalism and against private property ("Radical Enlightenment", p. 273), anti science and technology, his radical egalitarianism, and the inherent mindset in which the means are justified by the perceived noble end.

Rousseau is often quoted as the iconic philosopher of the Enlightenment, but it is quite clear he fiercely rejected all its tenets and values. No doubt, here we have the ground zero of the Counter-Enlightenment.

He was certainly no believer in mutually beneficial interaction, or the beneficial effects on society of self-interest (Bernard Mandeville (1670-1733), "The Fable of the Bees"), asserting that "society hardly needs to feed man's love for himself and his desire to be first among men." ["Radical Enlightenment", p. 273].

His radical egalitianism is echoed in the notion that rational and industrious man with dehumanizing machines would replace royalty as an enslaver of the common man, being better and more ruthless on the aggregation of material goods. He argued that the separation of the progress and dissemination of science and art from political and religious control are hazardous for society and for the virtue of the people [Bloom, 1990]. But it gets worse."

Common will" instead of freedom
In Rousseau we see the first social contract at the price of freedom and the birth of a notion called the "common will". The latter is a concept that in Rousseau's approach requires state intervention. This should not be confused with the 'common good'. It is a far more developed conception which, and unlike the former, can only be realized in the context of civil society under the state ["Radical Enlightenment", p. 720).

For the creation of a society of common will, "freedom of all the people", they need only accept the dictates of the state. This was Rousseau's essence of "true civilization." The struggle between rich and poor would then rise to a moral experience of self-restraint. [Wildmonk] With the faculty of moral choice thus abdicated and forfeited to the state, people would be free from lowly - earthly desires and reach full - ideal potential. Man is thus divorced from the social and economic context in which he lives and interacts with others. The ideal state of heaven, separated from earthly considerations.

This totalitarian approach to freedom, an abomination in every sense, was later further developed by Marx, who wrote that "capitalist, individual liberty is the most complete suppression of all individual liberty and total subjugation of individuality to social conditions" [Wildmonk: Marx, "Grundnisse", pp. 131]. "Freedom can only consist in socialized man, the associated producers, rationally regulating their interchange with Nature, bringing it under their common control, instead of being ruled by it as by the blind forces of Nature; and achieving this with the least expenditure of energy and under conditions most favourable to, and worthy of their human nature." [Wildmonk: Marx, "Selected Writings", pp. 496].

In this way man's separation from his nature and morality began. Never in human history were their worse judges of human character than Rousseau and his followers: all seek some degree of formal control over individual freedom for the purpose of creating material conditions deemed necessary for "true freedom", moralectomy in precise equal measure. Rousseau's concept of "common will" became the most savage, bloody instrument of social engineering in the history of mankind.

The Atlantic Ridge
In the United States Thomas Jefferson was the most prominent supporter of the French revolutionary achievements. Nevertheless, property rights and Enlightenment liberties were set in stone in the spirit of Locke, Montesquieu and Adam Smith. The present Democratic Party is being diverted further and further from that tradition as the sway of the postmoderns intensifies. Rhetorical style and attitude betray their influence.

While National Socialist and Communist ideas have swept America to some extent in their haydays - notwithstanding the counter culture, a product of the latter - these Rousseauian inspired ideologies remained by and large a marginal affair. Rousseau entering Locke's territory by the back- door may come as a surprise to some Americans - the wrong brand of revolution is encroaching on its most basic principles.

In Europe the situation was markedly different, as we shall see. Locke's influence remained on the whole limited to the British Isles. France and Germany have both Rousseau traditions, not Lockean. Today of great long-term concern is a possible return to some form of Rousseau inspired extreme ideology. It is chilling to see the rise of an unelected governing body on the European continent. The post-democratic elitism, combined with postmodern ideological chaos understood in the philosophical context, is an even more disquieting prospect.

Counter-Enlightenment projection* is on the order of the day and may even be consciously used as a tactic. Rousseau's brand of radical and revolutionary ideas, combined with the notion that civilization is so corrupt that it must be considered beyond salvation, makes him the father of all violent struggle in the last two and a half centuries.

Americans, tending to confuse Locke's revolution with Rousseau's, occasionally fall into the trap of supporting the wrong causes: initially the Russian Red Terror, and more recently, the covertly Islam inspired call for independence in the middle of Europe's powder keg, the Serbian province of Kosovo in the heart of the Balkans, thus providing a foothold in Europe for similarly based and equally pernicious radicalism.

The zero-sum game approach to economics also originates with Rousseau, which is giving rise to the annual media talking point that "a new report is suggesting that today's rich are getting richer, and the poor are getting poorer". This is incorrect propaganda, some reason requiring regular public re-affirmation, perhaps for that reason alone.

Rousseau and Religion
The great minds of the Enlightenment proper - Spinozists excluded - never saw Christianity as their mortal enemy. To them Church and the Enlightenment were natural allies. Rousseau was no exception, but he had only a passing acquaintance with the Christian political tradition. Therefore he dismissed the role of Christianity as a moderating force in society. He saw the faith as entirely a spiritual undertaking, occupying itself only with "heavenly things."

Rousseau's Christians are so detached from reality that they can hardly be recognized: a people so spiritualized that they display a profound disinterest if their earthly pursuits are successful or not. Rousseau's call for transcendent values to harness the energies of men towards the 'common will', coupled with the rejection of Christianity as a engine of these values, made it a central tenet of all the Rousseauian ideologies [Wildmonk].

To Rousseau religion was an imperative. "... the state cannot ... pursue a policy of toleration for disbelievers, or view religion as a matter of individual conscience. It absolutely must, therefore, reject dangerous notions of toleration and the separation of church and state." and "so fundamentally important is religion that the ultimate penalty is appropriate for disbelievers ..." [Stephen R.C. Hicks, "Explaining Postmodernism", Scholargy Press, 2004, p. 98].

Despite being so enamored with force-feeding religion, after the publication of his work "Emile" he was driven into temporary exile in Bern after a warrant for his arrest was issued. "Emile" was widely denounced as irreligious and seditious.

The Legacy
The loather of civilization Rousseau was nevertheless greatly admired by the early Counter-Enlighteners, as he is by today's postmoderns. His followers mostly selected from his work what they could use to prop up their ideologies. Marx accepted Rousseau's critique of Locke's economic man but stood solidly by the Enlightenment in his appreciation for science and technology. Marx even went so far as to describe his ideology as Scientific Marxism, basically a pseudo scientific rationalization of his aggregate of ideas.

Hegel as well as Rousseau inspired Marx' theory of dialectic materialism, in which the theme is the dichotomy of the Oppressor versus the Oppressed. Now clearly a tactic of this dialectic, Rousseau's vista of a noble, primordial world destroyed by man's egoism, might well also have sired the epidemic of Western self-loathing.

Irony
Ironically, while Rousseau was convinced that civilization was the cause of moral degradation, little did he know that his followers, by rejecting objective reality, would drop morality along with it. Despite two and a half centuries of genocidal legacy in pursuit of Rousseauian ideal society it enjoys considerable support among the Western intelligentsia, specifically in the humanities departments of academia, the media, all levels of education, contemporary arts, the political elite, advisory boards, government ministries and departments and what is loosely described as 'the corridors of power.'

The postmodern heirs remain committed to undermining free-market democracy, casting misty eyes upon the Rousseauean atrocities. 110 million dead are not vile enough to discredit 'the Party of Humanity' in the views of some of the most stubborn apologists. Considering that totalitarian societies are today's version of the tribal community he so admired, the Rousseau ideal society could well be described as an agrarian totalitarian state.

Another point of irony is that Rousseau's conviction, that reason engenders egocentrism has been falsified by every non-government sponsored humanitarian organization on the face of the planet, while Rousseau's faithful follower Hegel is responsible for the subjectivism that saw the birth of egocentrism gone mad, the 'Master of the Universe' syndrome (each individual creates his own personal version of reality: If I die overnight, will the sun still rise tomorrow?).

In France, Rousseau's ideal of small, intimate villages and a peaceful, agricultural society built on the consent of the common will has resulted in France becoming a by-word for centralized statism. Rousseau's tenet that reason caused man's fall from paradise may well be the basis of the later Counter-Enlightenment's political ideals, modelled on the re-creation of 'paradise on earth', Utopias which usually turn out to be dystopias instead.

Postmodernism or Rousseauism?
Rousseau can certainly be traced back as the source of all members of the postmodern coalition: environmentalists, third-worldists (Baran-Wallerstein), feminists, anarchists, 'gender, identity and sexual orientation' theorists, traditional socialists of various plumage, and 'classical' postmoderns. It is a true gathering of Rousseauians that has largely remained uninvestigated, underreported and certainly undeclared.

In the chaos of the total postmodern bankruptcy in the wake of mayhem, moralectomy and grandiose failure, there is but one purpose left. A resolve that brings these ideologies together with a tradition with which it has so much in common. We are witnessing a spontaneous feast of recognition with radical Islam.

It is truly remarkable that every prior held conviction and allegiance has by now been jilted in favour of furthering the causes of the intolerant: it's back to the Rousseau basics. The grant plan: a strategy to deconstruct Western, democratic, liberal capitalism by critical theory, and 'irrational means of the will.'

* If you think of yourself as a peaceful, loving person, while actually you are full of wrath and hatred, the psychological coping device of projection - as if by magic - transforms the object of that wratch into someone who is hateful, devisive, full of vitriol and bile, bigoted, intolerant and hatemongering.