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Saturday, 6 September 2014

Cultural Marxism, Modern Art and Hipsterism




It is a frequently misunderstood notion that “modern” and “abstract” art was an organic development that arose from grassroots battles against “oppression” and the “folk art” of the lower classes. In fact, ugly, degenerate art arose from Soviet and communist circles as a means to attack aesthetic beauty. I often remark that “Bauhaus” architecture is communist to the surprise of listeners, but the facts are, “modern art” is almost wholly a communist and Soviet invention of weaponized culture.

To understand this, one must look at the Frankfurt School of Marxism, tasked primarily with social engineering and destroying culture. Weaponized culture was a key tool for destroying the West’s social values and social structure. This is also true of the modern transformations of “art” into its own internal nihilist critique of meaning itself, with hipsterism. Hipsterism could accurately be called the full blossoming of Theodore Adorno’s critical theory, particularly in terms of music. Adorno writes:

What radical music perceives is the untransfigured suffering of man. The seismographic registration of traumatic shock becomes, at the same time, the technical structural law of music. It forbids continuity and development. Musical language is polarized according to its extreme; towards gestures of shock resembling bodily convulsions on the one hand, and on the other towards a crystalline standstill of a human being whom anxiety causes to freeze in her tracks. Modern music sees absolute oblivion as its goal. It is the surviving message of despair from the shipwrecked.”

So modern music is geared towards the breakdown of order, beauty, form and meaning, waging a war on all the elements with the intent of disorienting man’s psyche and breaking down his worldview.  In fact Adorno describes it as an attempt at actually causing mania:

It is not that schizophrenia is directly expressed therein; but the music imprints upon itself an attitude similar to that of the mentally ill. The individual brings about his own disintegration. He imagines the fulfillment of the promise through magic, but nonetheless within the realm of immediate actuality. Its concern is to dominate schizophrenic traits through the aesthetic consciousness. In so doing, it would hope to vindicate insanity as true health.”

Analysts Meyer and Steinberg comment: Adorno itemized these: 1. depersonalization, the loss of connection to one’s own body; 2. hebephrenia, which he defined as “the indifference of the sick individual towards the external”; 3. catatonia (“a similar behavior is familiar in patients who have been overwhelmed by shock”); and 4. necrophilia. Adorno declared, “Universal necrophilia is the last perversity of style.”

Adorno had been “recruited” if you will by the West, to wage war through cultural Marxism on a global scale.  Meyer and Steinberg comment:

A promising future concert pianist in his youth, he had later studied in Vienna  under the atonal composer Arnold Schoenberg. In 1946, while in the United  States, working on the Frankfurt School’s “Cultural Pessimism” agenda, the former Soviet Comintern (Communist International) asset, now living on the largesse of the Rockefeller Foundations and other Anglo-American fondi, wrote an infamous book, The Philosophy of Modern Music, a barely intelligible diatribe against Classical culture.”

The Rockefeller Foundation promoted modern art globally, utilizing western intelligence to spread the death that is abstract art.
The London Independent states:

“The US government now faced a dilemma. This philistinism, combined with Joseph McCarthy’s hysterical denunciations of all that was avant-garde or unorthodox, was deeply embarrassing. It discredited the idea that America was a sophisticated, culturally rich democracy. It also prevented the US government from consolidating the shift in cultural supremacy from Paris to New York since the 1930s. To resolve this dilemma, the CIA was brought in.

The connection is not quite as odd as it might appear. At this time the new agency, staffed mainly by Yale and Harvard graduates, many of whom collected art and wrote novels in their spare time, was a haven of liberalism when compared with a political world dominated by McCarthy or with J Edgar Hoover’s FBI. If any official institution was in a position to celebrate the collection of Leninists, Trotskyites and heavy drinkers that made up the New York School, it was the CIA.”

And,

To pursue its underground interest in America’s lefty avant-garde, the CIA had to be sure its patronage could not be discovered. “Matters of this sort could only have been done at two or three removes,” Mr Jameson explained, “so that there wouldn’t be any question of having to clear Jackson Pollock, for example, or do anything that would involve these people in the organisation. And it couldn’t have been any closer, because most of them were people who had very little respect for the government, in particular, and certainly none for the CIA. If you had to use people who considered themselves one way or another to be closer to Moscow than to Washington, well, so much the better perhaps.”

This was the “long leash”. The centrepiece of the CIA campaign became the Congress for Cultural Freedom, a vast jamboree of intellectuals, writers, historians, poets, and artists which was set up with CIA funds in 1950 and run by a CIA agent. It was the beach-head from which culture could be defended against the attacks of Moscow and its “fellow travellers” in the West. At its height, it had offices in 35 countries and published more than two dozen magazines, including Encounter.”

That ugly art was all a CIA tool is not really correct.  Most of the hideous artists were Marxists. Take Pablo Picasso, for example.  Possibly the most famous modern artist, Picasso’s crap is nothing but the painted expression of Marxism. Picasso notably proclaimed his Marxism and considered his art the purest expression of Marxism.  One can clearly see the train of sewer from Marxism and Frankfurt school necrophilia to modern garbage and postmodern hipster meaninglessness.  Little do these hipsters understand that their “philosophy” is nothing else than an engineered social tool for morons, with the end being the destruction of those morons.

Source:

http://www.jaysanalysis.com/2013/01/16/cultural-marxism-modern-art-and-hipsterism/


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