We like asking the easy ones here at OoL and what better day to ask them than on the last day of the Mayan Calendar and at the Winter Solstice?
Let’s start with unbeauty:
The massive RX-78-2 at Shizuoka was created in celebration of 30 years of Gunpla models and can be seen at Fuji-Q Highland Park, near Mount Fuji in Japan
Chuckles weighs in with the sadly imitable Kirsty Allsop.
Lord help us, Kirstie Allsop, she of Location, Location, Location is on TV giving hints and tips on interior decorating…
And her muse tells her that ’70s style’ is the way to go…
What the experts say –
What her friends say
And now, enjoy
It was Marcuse, Adorno and others who started all this deep unbeauty, unlovingly continued in PoMo and you might well ask why? Why would anyone wish to Emin or Hirst a landscape with unlovely junk reflecting their diseased minds? Why would Sharkey, in the Lord of the Rings, wish to tear down or tear out all the natural beauty of Hobbiton and instead put up army barracks and turn the place into some caravan site or airport to look at?
Why would the Allsopps and Hiltons and TOWIEs strut around in their celebrity nothingness and actually think they’re some sort of cultural icons? Why is there such deep, ugly dross around in these post-Mayan days?
What is the message behind this below, put up at NO yesterday by JD?
That was meant to be beauty and what did it come out as? Imagine you had a mind like those VS women – pretty shells but zero inside. So even in presenting that, it was enticing you with a beautiful outer form, in order to show the lack of nobility inside. This is the modern way.
And those women didn’t even brush their hair.
LaRouche is a strange man and possibly one of Them but he hit the nail on the head when he wrote:
The task of the Frankfurt School, then, was first, to undermine the Judeo-Christian legacy through an “abolition of culture” (Aufhebung der Kultur in Lukacs’ German); and, second, to determine new cultural forms which would increase the alienation of the population, thus creating a “new barbarism.”
To a non-Christian, the fragmentation and the floodwaters of all this discordant culture can be written about in intellectualized rhetoric but to Christians, it’s very easy to sheet home the blame for it all:
Thus, for the Frankfurt School, the goal of a cultural elite in the modern, “capitalist” era must be to strip away the belief that art derives from the self-conscious emulation of God the Creator; “religious illumination,” says Benjamin, must be shown to “reside in a profane illumination, a materialistic, anthropological inspiration, to which hashish, opium, or whatever else can give an introductory lesson.”
At the same time, new cultural forms must be found to increase the alienation of the population, in order for it to understand how truly alienated it is to live without socialism. “Do not build on the good old days, but on the bad new ones,” said Benjamin.
The proper direction in painting, therefore, is that taken by the late Van Gogh, who began to paint objects in disintegration, with the equivalent of a hashish-smoker’s eye that “loosens and entices things out of their familiar world.” In music, “it is not suggested that one can compose better today” than Mozart or Beethoven, said Adorno, but one must compose atonally, for atonalism is sick, and “the sickness, dialectically, is at the same time the cure….
The extraordinarily violent reaction protest which such music confronts in the present society … appears nonetheless to suggest that the dialectical function of this music can already be felt … negatively, as ‘destruction.’ “
The purpose of modern art, literature, and music must be to destroy the uplifting—therefore, bourgeois — potential of art, literature, and music, so that man, bereft of his connection to the divine, sees his only creative option to be political revolt. “To organize pessimism means nothing other than to expel the moral metaphor from politics and to discover in political action a sphere reserved one hundred percent for images.”
Thus, Benjamin collaborated with Brecht to work these theories into practical form, and their joint effort culminated in the Verfremdungseffekt (“estrangement effect”), Brecht’s attempt to write his plays so as to make the audience leave the theatre demoralized and aimlessly angry.
It’s not as if it’s a new idea in the least – Tolkien incorporated it in the Lord of the Rings, as mentioned above. One begins with a seething hatred of humanity, of humans as a species, one resents the divine spark in each and every human being and proceeds to do dirt on it. At high day sacrifices [and today is one of those], at the point of death of the victim, the power is said to transfer if you drink the blood. Just as the LHC has had billions spent on it to find the illusive little b*gg*r Higgs Boson, so at these ceremonies, it’s the same principle – to isolate and clone the divine spark, the soul, the essence of life.
How much literature, art and music has been devoted to the topic? What was the Tower of Babel all about?
In political terms, it’s so easy to see why dystopic visions or “clever” art must abound in the land. Monstrosities to diseased minds must be erected in key positions to remind the people of their worthlessness compared to the elite and to prepare themselves for coming dislocation, breakdown and war.
And it’s an attack on the individual, what the individual can contribute, the freedom of the individual to pursue life his own way which is so easily diverted into “individualism” or the cult of the little gods, going around beating their chests and thinking themselves the centre of the universe. While this extreme is equally as anathema as the socialized concept of a world of cloned yahoo plebs ruled by an enlightened elite, the answer to harmony and wellbeing lies somewhere between those two extremes.
That’s why the Judaeo-Christian model is so good, politically – it emphasizes the freedom of the individual to choose even to believe but at the same time, the individual is mindful of hi antecedents and the need to respect other individuals as far as humanly possible. It emphasizes faith, hope and charity and spend just a little time reflecting on those three words. What was it that was supposedly written over the gates of hell?
Once cut Man adrift from his Maker and you go down the road we see out there today in society, artistically commemorated and illustrated in the “works” of Emin, Hirst and all the other dystopics. Once renounce intellect combined with these other virtues and you produce monsters such as Adorno and Marcuse who pervert intellect under a supposed Frankfurt School or similar.
And what diseased mind possesses all these other little diseased minds so that they wish to bring this ugliness into the world?
What mind, on the other hand, if you follow the prescription of your own volition, leads you to harmony and a well-functioning society?
Glance at the “art” in the statue at the top and compare to the work below. How noble is Man and to what does he owe his nobility?