Idiot vs Idiot

 

Francisco Goya, Fight With Cudgels, 1820-23

Chris Hedges has just published an essay titled "The Rule of Idiots," which starts with these paragraphs:

The last days of dying empires are dominated by idiots. The Roman, Mayan, French, Habsburg, Ottoman, Romanoff, Iranian and Soviet dynasties crumbled under the stupidity of their decadent rulers who absented themselves from reality, plundered their nations and retreated into echo chambers where fact and fiction were indistinguishable.

Donald Trump, and the sycophantic buffoons in his administration, are updated versions of the reigns of the Roman emperor Nero, who allocated vast state expenditures to attain magical powers; the Chinese emperor Qin Shi Huang, who funded repeated expeditions to a mythical island of immortals to bring back a potion that would give him eternal life; and a feckless Tsarist court that sat around reading tarot cards and attending séances as Russia was decimated by a war that consumed over two million lives and revolution brewed in the streets.

In “Hitler and the Germans,” the political philosopher Eric Voegelin dismisses the idea that Hitler — gifted in oratory and political opportunism, but poorly educated and vulgar — mesmerized and seduced the German people. The Germans, he writes, supported Hitler and the “grotesque, marginal figures,” surrounding him because he embodied the pathologies of a diseased society, one beset by economic collapse and hopelessness. Voegelin defines stupidity as a “loss of reality.” The loss of reality means a “stupid” person cannot “rightly orient his action in the world, in which he lives.” The demagogue, who is always an idiote, is not a freak or social mutation. The demagogue expresses the society’s zeitgeist, its collective departure from a rational world of verifiable fact. 

True enough, but if we are to follow up on the idea that "dying empires are dominated by idiots" we ought also to take account of the idiocy of what has been offered as alternative to Donald Trump: the pussy hat wearers, the DEI grifters who want to replace merit with identity, the people who profess to not know what a woman is, the universities who have inverted every canon and idolized perversion, the censorious rabble eager to find offence in every public utterance insufficiently submissive to batshit-crazy woke racial and feminist dogma, a harridan so repellent she managed, against all odds, to lose a presidential race against a buffoon and then went on to excuse her defeat by inventing a monstrous lie about Russian interference that has brought two superpowers even closer to open conflict than they were during the Cold War . . . This is the "Resistance" to Donald Trump.

So, yes, in the terminal state of the American empire, idiocy abounds, but Donald Trump owns only half of it and the few of us who have not completely lost our minds must look helplessly on as two equally mindless and destructive factions of the ruling class flail at each other heedless of the disaster about to engulf both of them.

Mindless Jobs To Be Replaced by Artificial Mindlessness

Dario Amodei — CEO of Anthropic, one of the world's most powerful creators of artificial intelligence — has a blunt, scary warning for the U.S. government and all of us:

AI could wipe out half of all entry-level white-collar jobs — and spike unemployment to 10-20% in the next one to five years, Amodei told us in an interview from his San Francisco office.

Amodei said AI companies and government need to stop "sugar-coating" what's coming: the possible mass elimination of jobs across technology, finance, law, consulting and other white-collar professions, especially entry-level gigs.

That means that half of all entry-level white-collar jobs can be done by brain-dead zombies.

I repeat, there is no artificial intelligence, but there is an artificial replacement for mindless work. 

Traditions

cannot be willfully revived. Julian the Apostate tried and failed miserably.

When tradition has authority, it is only dimly recognized, if at all, as tradition. Rather, it is experienced as an indisputable way of life, a foundational orientation of vaguely or explicitly divine origin. Tradition has to have divine origin, otherwise it is merely a human ordnance and human ordnances can be amended or abolished altogether. A tradition that is vital is all-enclosing and spellbinding. It is the shape of a society, the form of its coherence. Once undone, the spell is broken and can only be replaced by another spell, another myth, another metaphysical "fiction." But not by some jerry-rigged, voluntaristic revival of the tradition that has collapsed.

Voluntary traditionalism, such as the trad wife phenomenon or the Grim Hustle hustle, are just LARPing. 

Come to think of it, so is fascism.

The simulation of tradition is the last stage of its decomposition.

Virtue signalling

is not new. It is a fundamentail trait of the bourgeoisie. 

The reason is the bourgeoisie has no inherent claim to superiority. Unlike the aristocracy that it displaced, the bourgeoisie lacks noble lineage. It is a class of jumped-up grubby merchants, often separated by no more than a couple of generations from their nouveau riche antecedents. 

Consequently, their has always been a strong moralistic component in the bourgoisie's rationalization of its elevation. 

The rationalization goes something like this:

Why is it that in an ostensibly democratic society the bourgeoisie constitutes a privileged elite?

Because it is a class of better people.

And how is this to be impressed on everybody?

Through incessant virtue signalling.

And how is the signal to be discernible?

By the presumed uncommonness (perversity) of the virtue it advertises.

So there you have an explanation for why a white ruling class can affect a hatred of whiteness.

Photogenic

and beautiful are not the same thing. Pretty much anything can be turned into a nice photo because in a photo, it is the composition of the photo itself that matters not the object. That's why Walter Benjamin didn't care for Albert Renger-Patzsch's Die Welt Ist Schön (The World Is Beautiful).

A great deal of modern architecture is ugly but you still get idiots like this one rhapsodizing its photgenicity.

Here's the thing: we don't live in pictures. We live in (and with) buildings. The effect of photography on architecture has been almost entirely negative.

Man Does Not Live by Bread Alone

Duccio di Buoninsegnia, The Temptation of Christ on the Mountain, 1308-11

Guenon notes that philosophy is the love of wisdom. As such it is “a preliminary and preparatory stage, a step as it were in the direction of wisdom.” It is not wisdom itself. “The perversion that ensued consisted in taking this transitional stage for an end in itself and in seeking to substitute ‘philosophy’ for wisdom, a process which implied forgetting or ignoring the true nature of the latter.”

Guenon’s objection is not to philosophy per se, but to a philosophy denuded of esoteric content. At the heart of Plato’s philosophy is the Form of the Good – God, the Source. The Form of the Good is clearly the object of mystical revelation and it gives all reality a divine quality. Thus, reality is being generated by God and it shares in God’s divine nature. Wisdom must be grounded in reality. Rational philosophical reflection must be centered around the real. If the divine is absented from philosophical speculation, then a vacuum is created. This vacuum can only be filled with malignant creations of the human imagination. They will be malignant because false and misleading – “a pretended wisdom that [is] purely human and therefore entirely of the rational order.” Reality is “true, traditional, supra-rational.”

Another and popular alternative is to take a fragment of the true Good and to represent it as the whole. A single virtue, like compassion, agape, becomes an evil monstrosity by shoving out of view all other excellences. Compassion is acceptance, but true love includes Eros, the push to develop, to gain wisdom, to seek salvation. For that, effort is required. If agape is lacking eros, compassion is lost because truly caring for someone and wishing that person the best means to care about his development. In The Abolition of Man, C. S. Lewis reserves the word “ideology” for the practice of taking a fragment of the Tao and enlarging it in this way, to the exclusion of all other considerations. Hence, communism is an ideology but the Christian religion is not. Liberal opponents of this view tend to try to apply the label “ideology” to religion but in doing this, they miss the point. They want to claim that religion is an ideology like any other. The advantage of the fragment enlarging technique for the ideologue is that he appears to have a hold of the truth. However, a partial truth becomes a big lie in this context.

Plato, on the other hand, is no ideologue. He examines the role of different aspects of the Good in different dialogs. His devotion is to The Form of the Good and this Form is supra-rational and not something that can be fully explicated rationally. It is not the product of mind and rationality. In fact, it produces the lower levels of mind, soul and body. Using the Neo-Platonist Plotinus’ nomenclature, of mind/psyche, soul/nous, spirit/the One, then a visual representation might look something like this.

Plato never doubts The Form of the Good, but he sometimes wonders about his ability to write sensibly and well about it. He is aware of the limitations of discourse and never considers it a substitute for mystical experience. Hence, he narrates a story, a “myth,” like the Timaeus, and in contexts like that he sometimes writes “something like this must be true.” Plato also appears to worry in the Meno that virtue may be unteachable and not fully definable. The character of Socrates suggests that it is better to try to do so, than to give up. In being self-aware about the distance between exoteric and the esoteric, Plato’s philosophy has the quality of a parable in the manner of Jesus, Christ’s way of communicating with the uninitiated.

Thus, the core of Plato’s philosophy is a religious experience. He worries that in writing about it he may misrepresent it and makes the reader aware of his misgivings and the approximate and provisional nature of all attempts to describe and explicate this religious core. This means all Plato’s writings, like all good philosophy, are theology. Platonic exoteric philosophy forever circles round the supra-rational. The Phaedrus and the Symposium have a quality of glorifying the divine and are also inspirational.

Plato’s Allegory of the Cave is a useful starting point for all attempts to understand Platonic philosophy. Everything Plato writes presupposes such a vision of reality. Plato has a place for rationality, but he at no point tries to deduce morality from merely rational considerations. The love of goodness and justness that is visible in the character of Socrates in The Gorgias is of a piece with Plato’s raptures expressed in describing the experience of the Form of the Good in Book VII of The Republic. The moral faith and beauty of Socrates in this dialog is inspiring, in stark contrast with the evil and self-serving nature of Gorgias, Polus and Callicles; with each interlocutor becoming progressively more brazenly horrible. In dialogs like this one, Socrates becomes a vehicle for the Form of the Good and the divine light shines through him, making him the most admirable of men for Plato.

Real philosophy is the explication of the supra-rational. What is the goal of life, having been projected into a physical universe by an ineffable Source? Socrates the man wanted to forget about the origins of the universe and focus on ethics. However, Plato saw that ethics without an appreciation of the divine origins of life is meaningless and a hopeless task. God is the alpha and the omega; the origin and destination. Rationalism, on the other hand, loses its way.

—Richard Cocks, "Philosophy and the Crisis of the Modern World"

Brilliant essay. Worth reading in full, not least for Cocks' trenchant critique of Roger Scruton

There Is No Artificial Intelligence, Only Stupid Jobs

My students, the majority of whom aspire to become cogs in the entertainment/game industry, are terrified of AI. They are worried that AI will take away the jobs they hope to get. And it probably will.

They see this as a threat to "creativity." It's not. It's a threat to mediocrity. 

The I in AI is misplaced. AI is a witless pastiche-generating machine. And no threat to anyone whose work relies on actual intelligence.

The real problem is that most jobs in America are "service" jobs. These jobs will be taken over by AI because they are jobs that require a workforce of automatons. So actual automatons will eventually be doing them.

Try contacting customer service at any company that's not a family business (or sometimes even if it is). Or get advice from a physician who spends almost the entire appointment interacting with a computer screen. Or attend a college where the regurgitation of Woke pieties is considered critical thinking. Then tell me why these jobs require sentience.

AI is not intelligent. It is compliant. That is its advantage. It can be used and abused without resentment. It's not bright and it's not creative but in most paying jobs those things don't help, they hinder. Those jobs will be done by AI.

This energetic Canadian creates commendable content with the simplest of means. AI, which is incapable of humor, does not threaten his job

Postmodern Diversity Is Garbage

 

Robert Rauschenberg, Monogram, 1955-59

When what were formerly existential modes of being in the world are reduced to "lifestyles"—in the same way that postmodernism reduces all historical records to styles—then a postmodern diversity does indeed become possible. For then everything can coexist with everything without generating conflict or tension. 

In art, Rauschenberg's Combines embody this empty diversity.  There is no end to the things that can be combined. But in what way then is a work of art to be distinguished from a trash fill? The trash fill too combines everything with everything by virtue of the fact that it is the depository of everything that has lost value and meaning.  The things that end up in the trash are of diverse origin but in the trash heap they share the fundamental sameness of being discards, an excremental homogeneity. Rauschenberg's Combines are the aestheticization of this excrementality, which is the obverse side of consumerism and the commodity fetish.

Divine Asterisk

The asterisk was already in use as a symbol in ice age cave paintings. There is also a two-thousand-year-old character used by Aristarchus of Samothrace called the asteriskos, ※, which he used when proofreading Homeric poetry to mark lines that were duplicated. Origen is known to have also used the asteriskos to mark missing Hebrew lines from his Hexapla. The asterisk evolved in shape over time, but its meaning as a symbol used to correct defects remained.

In the Middle Ages, the asterisk was used to emphasize a particular part of text, often linking those parts of the text to a marginal comment. However, an asterisk was not always used.

One hypothesis to the origin of the asterisk is that it stems from the 5000-year-old Sumerian character dingir, 𒀭, though this hypothesis seems to only be based on visual appearance. 

—Wikipedia

Never Let Things Be Seen Half-Finished

They can only be enjoyed when complete. All beginnings are misshapen, and this deformity sticks in the imagination. The recollection of having seen a thing imperfect disturbs our enjoyment of it when completed. To swallow something great at one gulp may disturb the judgment of the separate parts, but satisfies the taste. Till a thing is everything, it is nothing, and while it is in process of being it is still nothing. To see the tastiest dishes prepared arouses rather disgust than appetite. Let each great master take care not to let his work be seen in its embryonic stage: they might take this lesson from Madam Nature, who never brings the child to the light till it is fit to be seen.

—Balthasar Gracian, The Art of Wordly Wisdom, 1647

Saint Martin

Simone Martini, Division of the Cloak, 1312-17

From the late 4th century to the late Middle Ages, much of Western Europe, including Great Britain, engaged in a period of fasting beginning on the day after St. Martin's Day, November 11. This fast period lasted 40 days (not including Saturdays and Sundays), and was, therefore, called Quadragesima Sancti Martini, which means in Latin "the forty days of St. Martin". At St. Martin's eve and on the feast day, people ate and drank very heartily for a last time before they started to fast. This fasting time was later called "Advent" by the Church and was considered a time for spiritual preparation for Christmas.

On St. Martin's Day, children in Flanders, the southern and northern parts of the Netherlands, and the Catholic areas of Germany and Austria participate in paper lantern processions. Often, a man dressed as St. Martin rides on a horse in front of the procession. The children sing songs about St. Martin and about their lanterns. The food traditionally eaten on the day is goose, a rich bird. According to legend, Martin was reluctant to become bishop, which is why he hid in a stable filled with geese. The noise made by the geese betrayed his location to the people who were looking for him.

In the eastern part of the Belgian province of East Flanders (Aalst) and the western part of West Flanders (Ypres), traditionally children receive presents from St. Martin on November 11, instead of from Saint Nicholas on December 6 or Santa Claus on December 25. They also have lantern processions, for which children make lanterns out of beets. In recent years, the lantern processions have become widespread as a popular ritual, even in Protestant areas of Germany and the Netherlands, although most Protestant churches no longer officially recognize Saints.

In Portugal, where the saint's day is celebrated across the country, it is common for families and friends to gather around the fire in reunions called magustos, where they typically eat roasted chestnuts and drink wine, jeropiga (a drink made of grape must and aguardente) and aguapé (a sort of weak and watered-down wine). According to the most widespread variation of the cloak story, Saint Martin cut off half of his cloak in order to offer it to a beggar and along the way, he gave the remaining part to a second beggar. As he faced a long ride in a freezing weather, the dark clouds cleared away and the sun shone so intensely that the frost melted away. Such weather was rare for early November, so was credited to God's intervention. The phenomenon of a sunny break to the chilly weather on Saint Martin's Day (11 November) is called Verão de São Martinho (Saint Martin's Summer, veranillo de san Martín in Spanish) in honor of the cloak legend.

In Malta on the night of the eve of Saint Martin's day children leave an empty bag next to the bed. This bag is found full of fruit on the next day.

—Wikipedia
 

Moments of Comfort

 

Screenshot

The Serpent

Magic is also the only immaterial thing of which the debris still survive from civilisations which have entirely ceased to function—witness the cases of Egypt, of Chaldea, even of Druidism; and no doubt the "fetishism" of the negro peoples has a similar origin. Sorcery could be said to be made of the vestiges of dead civilisations. Is this why the serpent, in the most recent times, has hardly kept anything but its malefic significance, and why the dragon, ancient Chinese symbol of the Word, awakens only "diabolical" ideas in the minds of modern Westerners?

 — René Guénon, Fundamental Symbols: The Universal Language of Sacred Science

Saint George and the Dragon

Paulo Uccello, Saint George and the Dragon, 1470

In the well-known version from Jacobus de Voragine's Legenda aurea (The Golden Legend, 1260s), the narrative episode of Saint George and the Dragon took place somewhere he called "Silene" in what in medieval times was referred to as "Libya" (basically anywhere in North Africa, west of the Nile). Silene was being plagued by a venom-spewing dragon dwelling in a nearby pond, poisoning the countryside. To prevent it from affecting the city itself, the people offered it two sheep daily, then a man and a sheep, and finally their children and youths, chosen by lottery. One time the lot fell on the king's daughter. The king offered all his gold and silver to have his daughter spared, but the people refused. The daughter was sent out to the lake, dressed as a bride, to be fed to the dragon.

Saint George arrived at the spot. The princess tried to send him away, but he vowed to remain. The dragon emerged from the pond while they were conversing. Saint George made the Sign of the Cross and charged it on horseback, seriously wounding it with his lance. He then called to the princess to throw him her girdle (zona), and he put it around the dragon's neck. Wherever she walked, the dragon followed the girl like a "meek beast" on a leash.

The princess and Saint George led the dragon back to the city of Silene, where it terrified the population. Saint George offered to kill the dragon if they consented to become Christians and be baptized. Fifteen thousand men including the king of Silene converted to Christianity. George then killed the dragon, beheading it with his sword, and the body was carted out of the city on four ox-carts. The king built a church to the Blessed Virgin Mary and Saint George on the site where the dragon died and a spring flowed from its altar with water that cured all disease. Only the Latin version involves the saint striking the dragon with the spear, before killing it with the sword.

—Wikipedia

 René Guénon interprets the slaying of the dragon this way:

Victory over the dragon has, as its immediate consequence, the conquest of immortality, which is represented by some object the approach to which is guarded by the dragon; and this conquest essentially implies the reintegration into the centre of the human state, that is, into the point where communication is established with the higher states of the being. (Fundamental Symbols: The Universal Language of Sacred Science)

The water in the lake guarded by the dragon would then be the water of life. The victory over the dragon would have initiatory meaning.

There seems to be also a residue in this legend of some hierogamic ritual (the princess dressed as bride) that has been reinterpreted in the Christian context as union with a loathsome beast.

 

Inadequate men

spawn inadequate women. This ought to be the corollary to my remark that postmodernism is "the flaccidity that overtakes culture when it is taken over by women." Bishop Williamson stated the matter with exemplary clarity:

Revolutionary man has betrayed modern woman; since she is not respected and loved for being a woman, she tries to make herself a man. Since modern man does not want her to do what God meant her to do, namely to have children, she takes her revenge by invading all kinds of things that man is meant to do. What else was to be expected? Modern man has only himself to blame.

At the bottom of this unmanning of men and unwomaning of women was a misguided masculine revolt against tradition. Men thought they were exalting their virility when they dispensed with the wisdom of their fathers. They did not understand that they were cutting themselves off from the root of their masculinity. The wound they inflicted on themselves was for a time hidden. The bleeding was internal, the self-emasculation obscured by the din of an energetic demolition of tradition.

What was it that these bourgeois men of reason actually demolished? 

It was the idea of nobility.

Slaves of avarice, they could extol energy and ruthlessness and persistence but not nobility, not regard for things that are sacred and inviolable for no pragmatic reason. 

And so, gradually, these men of reason turned into amoebas—gelatinous, formless, unsexed. 

The horrors of Lovecraft are an allegory of the disintegration of modern man and his transformation into something hideously indeterminate.

Getting High

Shamanic ecstasy can be regarded as a recovery of the human condition before the "fall" ; in other words, it reproduces a primordial "situation" accessible to the rest of mankind only through death (since ascents to heaven by means of rites—compare the case of the Vedic Indian sacrificer—are symbolic, not concrete like the shaman's). Although the ideology of shamanic ascent is perfectly consistent and forms an integral part of the mythical conception we have just reviewed ("Center of the World," break in communications, degeneration of humanity, etc.), we have come upon numerous cases of aberrant shamanic practices; we refer especially to rudimentary and mechanical means of obtaining trance (narcotics, dancing to the point of 'exhaustion, "possession," etc.). The question arises if, aside from the "historical" explanations that could be offered for these aberrant techniques (deterioration as the result of external cultural influences, hybridization, etc.), they cannot also be interpreted on another plane. We may ask, for example, if the aberrant aspect of the shamanic trance is not due to the fact that the shaman seek to experience in concreto a symbolism and mythology that, by their very nature, are not susceptible of being "realized" on the "concrete" plane; if, in short, the desire to obtain, at any cost and by any means, an ascent in concreto, a mystical and at the same time real journey to heaven, did not result in the aberrant trances that we have seen; if, finally, these types of behavior are not the inevitable consequence of an intense desire to "live," that is, "experience" on the plane of the body, what in the present condition of humanity is no longer accessible except on the plane of "spirit."

—Mircea Eliade, Shamanism

No sooner

does man learn to speak than he is exiled into abstraction. This is the Fall, the ejection from the retrospectively conjured paradise of undifferentiated being. Thus, the entry into culture forces a simultaneous effort to transcend the oppositions that define culture and regain the blissful plenitude that consciousness intuits as prior to consciousness.

The sacred is the presence within culture of what is alien to it, but at the same time the center around which it forms. It is the gateway to paradise but also, at the same time, the gateway to hell, because it intimates within the human world the proximity of the nonhuman, of something, as Otto put it, at once awesome and awful.

Numinous Primitivism

Emil Nolde, Autumn Sea, 1910

The discovery of the "expressive" power of African and other non-Western "primitive" art by European artists starting in the late 19th century was an encounter with an art that could conjure up the numinous dimension that modernity had banished from both European life and art.

The radical otherness of what Rudolf Otto called the Wholly Other, absent in contemporary Christian religiosity, was rediscovered in the alien forms of non-Western sacred art.

What Nietzsche called the death of God was the transformation of the Christian God into a deus otiosus. Gauguin had to go to Brittany to find a corner of Europe where the memory of this God could still inspire visions.

In the arts of Africa and Oceania, European artists discovered fetishes still charged with supernatural power produced by people who remained in ecstatic contact with their spirits and gods. Contact with these shamanic artifacts, in turn, enabled European artists to recover visionary capability. And for a brief moment they were able to enrich a decrepit European culture with fresh visions of heaven and hell.

George Grosz, The Funeral (Dedicated to Oskar Panizza), 1917-18

 

Visualizing Death

Andy Warhol, Orange Car Crash (5 Deaths 11 Times in Orange) (Orange Disaster), 1963 

 It is as a further result of his ability to travel in the supernatural worlds and to see the superhuman beings (gods, demons, spirits of the dead, etc.) that the shaman has been able to contribute decisively to the knowledge of death. In all probability many features of "funerary geography," as well as some themes of the mythology of death, are the result of the ecstatic experiences of shamans. The lands that the shaman sees and the personages that he meets during his ecstatic journeys in the beyond are minutely described by the shaman himself, during or after his trance. The unknown and terrifying world of death assumes form, is organized in accordance with particular patterns; finally it displays a structure and, in course of time, becomes familiar and acceptable. In turn, the supernatural inhabitants of the world of death become visible; they show a form, display a personality, even a biography. Little by little the world of the dead becomes knowable, and death itself is evaluated primarily as a rite of passage to a spiritual mode of being. In the last analysis, the accounts of the shamans' ecstatic journeys contribute to "spiritualizing" the world of the dead, at the same time that they enrich it with wondrous forms and figures.

—Mircea Eliade, Shamanism

With Warhol, we encounter the radical de-spiritualization of death, its banalization. The flat orange background showing through the transparent photographic reproductions arrests attention on the surface: the painting is formally and connotatively superficial. Repetition transforms the image into visual noise.

The genius of Warhol was to have intuited that the profanation of the world facilitated by photography and its mechanical reproduction is best conveyed by reproducing reproduction. To the extent that one can find elegance, if not beauty, in Warhol's work, it derives from his having discovered the perfect means to frame banality, to make modern vacuity palpable.

Rainbow Bridge

 

Fra Angelico, The Annunciation, c. 1438-47, photo: Steven Zucker

It is always by way of the rainbow that mythical heroes reach the sky.

Though indirectly, these myths refer to a time when communication between heaven and earth was possible; in consequence of a certain event or a ritual fault, the communication was broken off; but heroes and medicine men are nevertheless able to reestablish it. This myth of a paradisal period brutally abolished by the "fall" of man will engage our attention more than once . . . 

Shamans and magicians ... simply restore—temporarily and for themselves alone—this "bridge" between sky and earth, which was once accessible to all mortals.

The myth of the rainbow as road of the gods and bridge between sky and earth is also found in Japanese tradition, and doubtless existed in the religious conceptions of Mesopotamia. Further, the seven colors of the rainbow have been assimilated to the seven heavens, a symbolism found not only in India and Mesopotamia but also in Judaism. In the Bamiyan frescoes the Buddha is represented seated on a rainbow of seven bands; that is, he transcends the cosmos, just as in the myth of his Nativity he transcends the seven heavens by taking seven strides toward the north and reaching the Center of the World, the culminating peak of the universe. The throne of the Supreme Being is surrounded by a rainbow, and the same symbolism persists into the Christian art of the Renaissance. The Babylonian ziggurat was sometimes represented with seven colors, symbolizing the seven celestial regions; he who climbed its storeys attained the summit of the cosmic world. Similar ideas are found in India and . . . in Australian mythology. The Supreme God of the Kamilaroi, the Wiradjuri, and the Euahlayi dwells in the upper sky, seated on a crystal throne; Bundjil, the Supreme God of the Kulin, remains above the clouds. Mythical heroes and medicine men ascend to these celestial beings by using, among other things, the rainbow.

It will be remembered that the ribbons employed in Buryat initiations are called "rainbows"; in general, they symbolize the shaman's journey to the sky. Shamanic drums are decorated with drawings of the rainbow represented as a bridge to the sky. Indeed, in the Turkic languages the word for rainbow also means bridge. Among the Yurak-Samoyed the shamanic drum is called "bow"; the shaman's magic projects him to the sky like an arrow. Furthermore, there are reasons to believe that the Turks and the Uigur regarded the drum as a "celestial bridge" (rainbow) over which the shaman made his ascent. 

—Mircea Eliade, Shamanism

Almost all erotic poetry

can be interpreted as expressing a longing for mystical union. The most notable example is the biblical Song of Songs. Why not a Lana Del Rey song?

The Art of Ecstasy

Art originated as a means of representing the sacred. It originated to make visible what cannot be seen, to represent what is unrepresentable.

And as long as art was tied to the sacred, it had purpose and vitality.

The modern profanation of art was its undoing. Without a sacred purpose, art has no purpose. 

The history of modern art is the history of the sterilization of art. Modernists went so far as to make the uselessness of modern art its distinguishing virtue.

Inexorably, art was forced to stage its own degradation as its purpose, incorporating into itself everything that was once foreign to it: ugliness, banality, artlessness.

But even in this fallen world, the sacred lingers. 

Like the gravity well of a black hole, at once massive and invisible, the sacred inclines toward an abyss. It is a fall into ecstasy.

The closest to sacred art today is art that expresses a longing for self-extinction.

 

Music does this best, music that inspires trance and abandon. 

In visual art, the ecstatic is misidentified as "expressionism,” but the truly ecstatic art is always about the obliteration of the self not its expression.

When painting, Jackson Pollock was not himself; he was channeling a numinous force. 

Van Gogh's Starry Night is a samadhic vision. 

Contemporary shamans must learn to fly on their own. 

Sometimes they crash

This is what happens

 when social media reduces discourse to an exchange of memes and one liners.

America’s economy isn’t working for many people who grew tired of being gaslit about how great the economy was, so there is a nihilistic sense that we should just burn it all down. Understandably, people who have been fucked over or sidelined want revenge against those who did well in the economy under the previous system. Despite this mentality among a large segment of Trump supporters, Trump primarily respects people who are winners under capitalism and has contempt for the less well off people who support him.

Liberalism and populism are the crest and trough of an oscillation that is tearing apart an arrangement that has come to the end of its life and can neither go forward or backward.  The is how the modern project comes undone. We could talk of a crisis of capitalism but that would be to reduce what Guenon called the crisis of the modern world to a purely economic/political crisis. Neither side in this exchange of barbed inanities has the language or breadth of vision to grasp the metaphysical import of the situation. They trade blows in a gladiatorial arena soon to be buried under the rubble of an extinct civilization.

What was the great discovery of the postmodernists?

Group Gelitin, Vorm Fellows Function

That to endure banality we reflexively and prophylactically endow it with a hierophantic aura, finding depth in nonsense, imputing revelation to flagrant acts of profanation (the secret of Duchamp's readymade).

Postmodernism is the idolatry of the profane, the consecration of desacration, the aestheticization of the anti-aesthetic. It is the ideology of a society that has reached the limit of profanation and can only alleviate its self-disgust by turning disgust into a higher-order aesthetic category.

In the same vein, Deleuze made madness chic. For how else can a disordered society, uprooted from its foundational traditions, incapable of centering or grounding itself, countenance its madness? Only by turning madness into an ideal.

Calling

In primitive man as in all human beings the desire to enter into contact wi!h the sacred is counteracted by the fear of being obliged to renounce the simple human condition and become a more or less pliant instrument for some manifestation of the sacred (gods, spirits, ancestors, etc.).

—Mircea Eliade, Shamanism

This is why every authentic prophet is a reluctant one.

Caravaggio, The Calling of St. Matthew, 1599-1600.

Of this kind of "interpellation" Althusser knows nothing.

Individualist Ugliness

One of the most tenacious of the typically modern prejudices is the one that sets itself up against the impersonal and objective rules of an art, for fear that they should stifle creative genius. In reality no work exists that is traditional, and therefore "bound" by changeless principles, which does not give sensible expression to a certain creative joy of the soul; whereas modem individualism has produced, apart from a few works of genius which are nevertheless spiritually barren, all the ugliness—the endless and despairing ugliness—of the forms which permeate the "ordinary life" of our times.

—Titus Burckhardt, Sacred Art in East and West

The First Shaman

Certain legends explain the present decadence of shamans by the pride of the "first shaman," who is believed to have entered into competition with God. According to the Buryat version, the first shaman, Khara-Gyrgän, having declared that his power was boundless, God put him to the test. God took a girl's soul and shut it up in a bottle. To make sure that it would not escape, God put his finger into the neck of the bottle. The shaman flew through the sky, sitting on his drum, discovered the girl's soul and to set it free, changed into a spider and stung God in the face. God instantly pulled out his finger and the girl's soul escaped. Furious, God curtailed Khara-Gyrgän's power, and after that the magical abilities of shamans markedly diminished.

— Mircea Eliade, Shamanism

I notice there is a huge interest in associating shamanism with psychedelics. 

Sledgehammer

The metallurgist, like the blacksmith and, before him, the potter, is a "master of fire." It is by means of fire that he brings about the passage of the material from one state to another. As for the metallurgist, he accelerates the "growth" of ores, he makes them "ripe" in a miraculously short time. Smelting proves to be the means of "acting faster" but also of acting to make a different thing from what already existed in nature. This is why, in archaic societies, smelters and smiths are held to be masters of fire, along with shamans, medicine men, and magicians. But the ambivalent character of metal—laden with powers at once sacred and demonic—is transferred to metallurgists and smiths: they are highly esteemed but are also feared, segregated, or even scorned.

In many mythologies the divine smiths forge the weapons of the gods, thus insuring them victory over dragons or other monstrous beings. In the Canaanite myth, Koshar-wa-Hasis (literally, "Adroit-and-Clever") forges for Baal the two clubs with which he will kill Yam, lord of the seas and underground waters. In the Egyptian version of the myth, Ptah (the potter god) forges the weapons that enable Horus to conquer Seth. Similarly, the divine smith Tvashtr makes Indra's weapons for his battle with Vritra; Hephaestus forges the thunderbolt that will enable Zeus to triumph over Typhon. But the cooperation between the divine smith and the gods is not confined to his help in the final combat for sovereignty over the world. The smith is also the architect and artisan of the gods, supervises the construction of Baal's palace, and equips the sanctuaries of the other divinities. In addition, this godsmith has connections with music and song, just as in a number of societies the smiths and braziers are also musicians, poets, healers, and magicians. It seems, then, that on different levels of culture (an indication of great antiquity) there is an intimate connection between the art of the smith, occult techniques (shamanism, magic, healing, etc.), and the arts of song, of the dance, and of poetry.

 —Mircea Eliade, A History of Religious Ideas

 

Initiation

usually comprises a threefold revelation of the sacred, of death, and of sexuality.” (Mircea Eliade, The Sacred and the Profane) The initiate emerges from the initiating mysteries as one who knows. 

The symbolism of death and (re)birth figures prominently in these mysteries. The initiatory ordeals impress upon initiates the full import of assuming the position of man or woman. 

In a desacralized society, the symbolism of death and birth is unavailable, as is symbolism in general, and rites of passage no longer exist. This leaves each individual to “choose” his or her own identity. Today, this has extended to each individual acquiring the “right” to choose his or her gender identity. But because these identities are effortlessly self-conferred, they carry little weight and are as easily cast off as they are put on. Under these circumstances, one never attains the position of one who knows. One remains a perpetual infant, not to say an embryo, arrested in a lifelong condition of fragile identity, anxiety, and bewilderment.

Initiatory death reiterates the paradigmatic return to chaos, in order to make possible a repetition of the cosmogony—that is to prepare the new birth. Regression to chaos is sometimes literal—as, for example, in the case of the initiatory sicknesses of future shamans, which have often been regarded as real attacks of insanity There is, in fact, a total crisis, which sometimes leads to disintegration of the personality. This psychic chaos is the sign that the profane man is undergoing dissolution and that a new personality is on the verge of birth. (Eliade, The Sacred and the Profane)

Religious man conquers the fear of death by assigning death the symbolic meaning of passage: what dies is the profane man, to be reborn as consecrated man, free from the fear of death and, therefore, enabled to live a noble life. Secular man shrinks from death and is, therefore, condemned to live a cowardly, compromised, half-life.

Today, the West appears at war with itself, demolishing its own traditions and monuments. A desacralized and diminished civilization cannot tolerate the memory of its sacred origin. The legacy of the past becomes an embarrassing encumbrance putting to shame the spiritual poverty of the present.  But the willful erasure of the past does not prevent it from haunting the present. In the modern, the sacred persists as a haunting, as the always possible return of the irrational.

Consciousness of a real and meaningful world

is intimately connected with the discovery of the sacred. Through experience of the sacred, the human mind has perceived the difference between what reveals itself as being real, powerful, rich, and meaningful and what lacks these qualities, that is, the chaotic and dangerous flux of things, their fortuitous and senseless appearances and disappearances. . . . In short, the " sacred" is an element in the structure of consciousness and not a stage in the history of consciousness. On the most archaic levels of culture, living, considered as being human, is in itself a religious act, for food-getting, sexual life, and work have a sacramental value. In other words, to be—or, rather, to become—a man signifies being "religious."

—Mircea Eliade, A History of Religious Ideas

Numerous sources are lamenting

the end of "deep" reading.

What exactly is being published today that requires "deep reading"?

You have not paid enough attention

 to what you love . . . to what formed you.

Yes, you are an exile. But so what? You have allowed yourself to be distracted by what you fear and hate.

Now, it's hard to even name what you love.

What do you love?

Aristocratic bearing and manners.

Vitality.

Elegant virility.

Beautiful things. Beautiful sights. 

Unexpected revelations.

Poetry.

Italian Primitives

 

Duccio, Jesus Opens the Eyes of a Man Born Blind, 1308–11, egg tempera on poplar, 17 1/8 x 17 3/4 in, National Gallery, London

Most of the art-historical literature from the 20th century that addresses Italian Renaissance painting follows a much earlier tradition according little respect to the early schools. Many writers still perpetuate the hierarchical construction of artistic development during the Renaissance that Giorgio Vasari expounded in his Lives of the Artists (1550 and 1568), which was the most influential discussion of the history of Italian Renaissance art . In the three prefaces that frame the chronological sequence of the lives of the great Italian artists, Vasari presented a view of the progressive development of art that appears remarkably biased in hindsight. As Erwin Panofsky explained in an essay of 1930, Vasari reestablished the supremacy of the classical style during the High Renaissance by tracing its emergence from a constructed antithesis: the primitive Gothic past. Vasari outlines a model of artistic progress through quasi-biological cycles of development and renewal. He draws on the idea often expressed by classical historigraphers that the evolution of a state or culture corresponds to the ages of man. There was the cycle of ancient times that reached its peak in the Golden Age of classical Rome, after which art declined and then virtually disappeared during the darkness of the early Middle Ages. But then, as the Renaissance gradually dawned, a second cycle began. According to Vasari, the cycle of the Renaissance developed toward its zenith in three stages or ages, compared metaphorically with infancy and childhood, adolescence, and adulthood or maturity.

The first age, or childhood, began with the appearance in the late 13th century in Tuscany of talented artists including Cimabue and, most significantly, Giotto. Vasari describes these childlike artists as eventually “weaned” and brought up beyond the stage of infancy. Through increased study of nature, the arts then climbed to a second age, or adolescence, in the 15th century, exemplified by Masaccio and Donatello. Finally, by turning not only to nature but also to the ancients, and by striving not just to equal but to surpass them both, the arts arrived at a second Golden Age during the early 16th century in Florence and Rome. Vasari believed that absolute perfection was embodied in the art of the divine Michelangelo, and to a lesser degree in Leonardo and Raphael.

This construction of the development of Italian Renaissance art continues to hold sway. It reached us with the help of Heinrich Wölfflin's often-reprinted Die Klassische Kunst or Classic Art of 1899 and 1903, in which Vasari's concept of artistic progress is given fuller stylistic description and also associated with notions of class. For example, Wölfflin conceives of the transition from 15th-century to High Renaissance painting as a movement from “a bourgeois art” to “an aristocratic one.” Domenico Ghirlandaio's Birth of St. John the Baptist of 1485, in Sta. Maria Novella in Florence, presents fussily detailed settings with many overtly gesturing figures in a manner suited to “middle-class” tastes. By contrast, Andrea del Sarto's Birth of the Virgin of 1514, in the forecourt of SS. Annunziata in Florence, is noble, elevated, dignified, and “aristocratic”. Like Vasari, Wölfflin glorifies the High Renaissance by denigrating that which came before.

The early Italian artists of the late 13th and 14th centuries were, accordingly, often seen to be lower class. In fact, Vasari's metaphor of childhood was translated into a conception of these artists as simplistic and, therefore, primitive. As the enduring label i primitivi suggests, they were associated with a complex mixture of other “primitive” artists from as yet infantile or uncivilized, typically non-Western cultures. In turn, the childlike simplicity seen in their art could be interpreted negatively, as reflecting an ignorance of learned conventions and, therefore, as naïve and rude, although in some instances the freedom from learned conventions was viewed more positively as unaffectedly truthful and unconsciously expressive. Several decades before Wölfflin's discussion of High Renaissance style, Charles Eastlake, then director of the National Gallery of London, explained, in this negatively charged way, the inclusion of some very early Tuscan panels as part of a larger purchase of paintings from the Lombardi-Baldi Collection:

The unsightly specimens of Margaritone and the earliest Tuscan painters were selected solely for their historical importance, and as showing the rude beginnings from which, through nearly two centuries and a half, Italian art slowly advanced to the period of Raphael and his contemporaries.

Even the members of mid-19th-century purist movements essentially followed Vasari's model, though they assessed the simplicity of the early Italian painters quite positively. Tommaso Minardi, the most active Italian advocate of purism, elevated Giotto's art—believing the Assisi frescoes to be by Giotto—because of the natural simplicity and intensity of expression. He was then compelled to heap even greater praise on the artists of “the period of highest rewards, the period of perfection”.

Painters from various centers in Italy, working in the period ca. 1180–1400 or even later, were known collectively as the “primitives” as late as the 1970s; this fact reveals much about prevailing attitudes toward early Italian art. The label “primitive,” with its dual associations of “rude” and “unconsciously natural,” set the early schools apart as different and less polished than “classic” artists. But the implicit contrast was there: these distinctive, rare, and often exquisitely crafted paintings, instead of being appreciated on their own terms, were devalued through a historical comparison with the muscular superrealism of Michelangelo or the robust idealized figures and soft landscapes of Raphael. Vasari's notions of High Renaissance classicism, subsequently elaborated upon in the definition of “fine art” within the French academic tradition, formed the enduring touchstone of artistic perfection against which early Italian painting was measured and was consequently found lacking. Indeed, the post-World War II literature continues the currency of expressions such as “the dawn of Italian painting,” thus perpetuating the belief that these works represent the earliest stages in the artistic evolution that produced the high noon of the High Renaissance. Alistair Smart chose that image of the dawn for the title of his early Italian survey, first published in 1978, and elaborated on the analogy in his poetic introduction:

The glow of dawn leads on to the blaze of noon, but its quality is quite distinct. And if the full light of Renaissance painting can be likened to a noonday amenable to the objective scrutiny of the natural world, the rise of the early Italian Schools suggests, rather, a slow dawn whose spreading light, while gradually revealing the forms of things, retains its mystery.

Although Smart celebrates what he sees as the distinctly mysterious or otherworldly quality of early Italian painting, the metaphor of the rising sun betrays his acceptance of Vasari's paradigm.

—Cathleen Hoeniger, "The Restoration Of The Early Italian “Primitives” During The 20th Century: Valuing Art And Its Consequences," 1999

Metaphysics of Perspective

Semantically important gestures and objects, as a rule, are presented in close-up shots, a departure from the laws of linear perspective. This may be seen in the Archangel Gabriel’s gesture of blessing in icons of the Annunciation, or images of the scroll St John of Damascus holds in medieval Russian O Tebe raduyetsya [In You Rejoices] icons, with the opening words of the hymn in honour of the Mother of God. This emphasis shows that the text of the song composed by St John of Damascus was at the very heart of the icon’s composition. The same may be said of depictions of the outer clothing (the "mantle") which the prophet Elijah leaves to his disciple Elisha on icons of the Ognennoye vozneseniye Ilyi Proroka [Fiery Ascent of the Prophet Elijah]. The materiality and the miraculous power of the "mantle" turns it into the central device of the composition, uniting heaven and earth.

The Fiery Ascent of the Prophet Elijah (sixteenth century), tempera on wood, 124 x 107 cm. State Historical Museum, Moscow.

Florenskii also linked the absence of shadows in the artistic space of the icon with the system of reverse perspective: "The absence of a definite focus of light, the contradictory nature of illumination in different places of the icon, the effort to bring forward masses which should have been overshadowed–yet again, this is neither coincidence nor a blunder by a naive craftsman, but artistic calculation, which imparts maximum artistic expressiveness."  Florenskii clearly follows Plato and his symbol of the Cave in the determination of people’s knowledge, since, in his works, light and shade acquire gnoseological meaning in the context of the metaphysics of reverse perspective. Platonic Ideas are "shadows," "the negative of things," "intaglio experiences;" a turn towards the light is a transition to a new level of cognition, and symbolizes our drawing closer to the truth. From any viewpoint, therefore, iconic images exclude shadow; when perceiving inscriptions, figures, architecture and landscape depicted on the icon, a turn (which also suggests a mobile gaze) may well convey gnoseological meaning. The icon is a transfigured reality, which knows no shadow. 

Novgorod School, The Raising of Lazarus (c. 1497), tempera on wood, 71.5 x 58 cm. State Russian Museum, St Petersburg.

—Oleg Tarasov, How Divine Images Became Art, 2024

The Masculine Triad

As men begat both sons and daughters, and as the former were much more desired than the latter, it was natural that a reason for this should be sought so that, if possible, the sex of the offspring could be controlled. As the phallus was the great object of veneration, it was, no doubt, carefully scrutinized and closely examined in all its peculiarities; but no marked difference of size, form, or condition was found that would account for the difference of begetting sons in one case, and daughters in another. It was observed, however, that men who had diminutive testicles, as a rule, lacked in virility, and that those who had none naturally—or who had lost them—were unable to become fathers. This was a revelation that the tests performed an important part in generation; and hence led to closer observation of their peculiarities. A marked and uniform difference was easily discovered. The right test is the more prominent, and hangs at a lower level than its smaller and less pronounced fellow on the left. The dimmest traditions of the remotest past, therefore, brings us the theory that the larger right testicle has the honor of giving the world its men; while the lesser one on the left has the minor distinction of being responsible for the weaker sex—a belief which is quite general at the present time in nearly every civilization.

How soon after the recognition of the phallus as creator—or as the instrument and representative of the Creator—that honor was divided with the less conspicuous, but equally necessary testicle appendages we have no means of definitely determining; certain it is, however, that the generative supremacy at first accorded to the phallus was in time divided with the tests—thus recognizing cooperation in the masuline organs of generation. The phallus was called Asher, which signifies to be "straight," "upright," "the erect one," "happiness," "unus cui membrum erectum est, vel fascinum ipsum"—"the erect virile member, charmed in the act of its proper function." Anu, probably from On, meaning "strength," "power"—especially "virile power," the male idea of creator, was the name given the right testicle, which, as the assistant in the generation of male children, was held next in rank to the phallus itself. This will readily explain why Jacob calls his son Benjamin—"son of my right side;" while the mother called him Benoni—" son of Anu," "son of my On." Hoa, or Hea,—while of obscure origin, and of doubtful meaning, is clearly feminine—and was the name applied to the third in rank—the left testicle.

The first sacred creative trinity, as recognized by the Assyrians, was, therefore, Asher, Anu, and Hoa—three distinct entities (principles or persons), each perfect in itself, each necessary to the other, working in harmony as one, towards one end—a veritable three in one—and one made up of three. In this—as in all subsequent trinities—and in fact, as in all polytheistic cults—the different organs, principles, or persons were of relative rank. One was the superior—even supreme—among the others. Their names, when spoken of or written together, were arranged in the order of their rank, beginning with the one considered as the Lord of the others—Lord of Lords. When they were spoken of as a whole, sometimes this trinity—again, like subsequent trinities—bore a name distinct from the three members, but frequently the collective unity was referred to under the name of the one recognized as highest in rank.

In comparatively later times the Jews knew and recognized this masculine triad, giving the testicles joint honor with the phallus; for their law made them sacred, so that even a profane touch was punished with death, and a man who had lost the one, or who was wounded in the other, "could not enter the congregation of the Lord." That is, a man whose creative triad was imperfect was an abomination. Even a descendant of Aaron could not be initiated as a priest if he was sexually imperfect. This rule was not confined to the benighted and licentious past, for, even in the present age of superior intelligence, one who is sexually mutilated, and, therefore, "not a man," cannot be consecrated as a priest, or promoted to a bishopric, much less, exalted to the Papal throne until an examination, both interrogative and occular—which is a part of every ceremony of ordination or promotion in the Catholic hierarchy— proves him—"a man—perfect in all his members."

—R. A. Campbell, Phallic Worship, 1887

The Wisdom of Don Fabrizio

 Love. Of course, love. Flames for a year, ashes for thirty.

Lares

Compared to Rome's major deities, Lares had limited scope and potency, but archaeological and literary evidence attests to their central role in Roman identity and religious life. By analogy, a homeward-bound Roman could be described as returning ad Larem (to the Lar). Despite official bans on non-Christian cults from the late fourth century AD onwards, unofficial cults to Lares persisted until at least the early fifth century AD.

Lifeforce.

It's everything. You either got it or you don't

Mesmerized by Chris Robinson in this video. I can't watch it enough. Recorded more than 30 years ago, and I only stumbled on it recently. Typical me. Always late for the party.

The gods reveal themselves

to poets and mystics, rarely, if ever, to philosophers. The hierophany may well be nothing more than a little disturbance in the ordinary, a glitch in the Matrix as it were. For Cavafy, the sight of a beautiful youth is enough.

One of Their Gods

When one of them moved through the marketplace of Selefkia
just as it was getting dark—
moved like a young man, tall, extremely handsome,
with the joy of being immortal in his eyes,
with his black and perfumed hair—
the people going by would gaze at him,
and one would ask the other if he knew him,
if he was a Greek from Syria, or a stranger.
But some who looked more carefully
would understand and step aside;
and as he disappeared under the arcades,
among the shadows and the evening lights,
going toward the quarter that lives
only at night, with orgies and debauchery,
with every kind of intoxication and desire,
they would wonder which of Them it could be,
and for what suspicious pleasure
he had come down into the streets of Selefkia
from the August Celestial Mansions. 

C. P. Cavafy

Marx as Conservative

It is only as I got older that I understood why reading Marx had such a profound effect on me. It was the sense of having found another soul who shared my revulsion for the modern world, who understood the profundity of its evil.

"Everything solid melts into air, everything holy is profaned . . ." he declared in the Communist Manifesto.

That is what impressed me, this understanding of the vileness of modernity that pierced down to its root. 

Yes, I am saying that what attracted me to Marx was his radical conservatism, which, like many modernists, he covered up by posing as a revolutionary.

No contemporary conservative mindlessly prattling on about the toxicity of "cultural Marxism" can understand this. Contemporary conservatives are petit bourgeois who want to roll the clock back by a few decades to a time when the degeneracy of consumer culture had not fully manifested itself. 

Marx understood that it was the bourgeoisie that profaned the world.

This profanation did not originate in liberal perversity. It came about because the bourgeoisie, whose descendants now express horror at the consequences of what their not-so-distant ancestors set in motion, replaced the rule of honor and tradition with the rule of money. It will not be undone by moving the clock back a few decades. It will not be fixed by Trump or MAGA.

Even Marx, who had the right diagnosis, could not propose a proper cure. Communism was a malediction but the avenging golem—the proletariat—it brought to life crumbled when exposed to the atomizing power of consumerism.

The truth is there is no alternative to modernity other than what preceded it. There is no supermodernity that will undo the ravages of modernity.

But is it even possible to conceive of a return to the premodern?

I don't know. But I've come to realize that it is possible to reconnect with the sacredness of the world. 

Not through revolt but through humility. 

Even in a profaned world, it is possible, with humble receptivity, to catch a glimpse of the occasional wonders that flash in the midst of the ordinary. 

I wish to focus on those from now on.

Contemporary puritanism

hides under an extravagant inversion of "heteronormativity." Underneath the obligatory fag-haggery hides a horror of ordinary heterosexual coupling and the social rituals that enable it. So naked men can walk around flogging each other in public but you are forbidden from flirting with the girl in the next cubicle lest you subject her to a hostile work environment. 

I'm not sure how we got to this stage of absurdity. Old-fashioned Victorian prudishness was at least more consistent. It could be that what has happened since is that the old-fashioned, singularly Protestant puritanism has reasserted itself but cannot admit its name, so must twist itself into this peculiar form. But I suspect there is a deeper reason for this postmodern heterophobia, which has to do with the disconnection of sex from reproduction. Since the 1960s there has been a great deal of investment by what is effectively a coalition of convenience between masculinized women and feminized men in achieving that disconnection, and, the promotion of homosexuality is the most efficient means of achieving it. So this is a heterophobia that veils what is really a fear of reproduction, a tokophobia, which also underlies the feminist sacralization of abortion and male addiction to pornography.

Whether God "exists"

or not is a triviality, propagated by those misguidedly preoccupied with proving His existence.

The "existence" of God is immaterial.

What matters is what kind of life and what kind of culture issue from faith and from faithlessness. Modernity supplies the answer. Without God as center, life and culture degenerate. Neurosis and madness proliferate. Freud did not sufficiently appreciate what he himself observed, that religion protects against neurosis. Like all moderns, he could not abide "illusions" and this blinded him to the fact that "fictions" and "illusions" are the foundation of culture and are needed to protect human beings from the awful consequences of consciousness. 

Consciousness has to produce something that protects against the excessive, life-killing effects of consciousness. That is the function of religion.

Everything that needs saying has been said.

At this point, blogging or writing ought to be no more than the compiling of a commonplace. G.K. Chesterton is a particularly rich source.

We say that the most dangerous criminal now is the entirely lawless modern philosopher. Compared to him, burglars and bigamists are essentially moral men; my heart goes out to them. They accept the essential ideal of man; they merely seek it wrongly. Thieves respect property. They merely wish the property to become their property that they may more perfectly respect it. But philosophers dislike property as property; they wish to destroy the very idea of personal possession. Bigamists respect marriage, or they would not go through the highly ceremonial and even ritualistic formality of bigamy. But philosophers despise marriage as marriage. Murderers respect human life; they merely wish to attain a greater fulness of human life in themselves by the sacrifice of what seems to them to be lesser lives. But philosophers hate life itself, their own as much as other people’s.—G.K. Chesterton, The Man Who Was Thursday

If this was true in 1908, how much truer is it after 1968 and the intellectual ravages of deconstruction?

What is there poetical about being in revolt?

You might as well say that it is poetical to be sea-sick. Being sick is a revolt. Both being sick and being rebellious may be the wholesome thing on certain desperate occasions; but I'm hanged if I can see why they are poetical. Revolt in the abstract is—revolting. It's mere vomiting.—G.K. Chesterton, The Man Who Was Thursday

In art, love of the law translates into two complimentary forms of piety: the piety of craft married to the piety of subject matter.

The piety of craft: because fundamental to craft is reverence for tradition. The modern devaluation of craft is a profanation.

Sacred time is circular. It is an incessant return to origins. Therefore, sacred art finds invention in the  retelling of the same stories, in the reverential recreation of the same forms. The modern striving for novelty is a profanation.

Seize

whatever beautiful things come your way.

Praising the beautiful is sufficient castigation of the ugly.

Ugliness is the devil's temptation to draw your attention downward toward the abyss. Keep your eyes on heaven. 

Postmodernism

is the flaccidity that overtakes culture when it is taken over by women.

Women have a proclivity to identify with and favor the damaged because they secretly think of themselves as damaged men. This is what makes postmodernism a cult of brokenness and inadequacy. It expresses a resentment against intact virility. Hence the paramount importance postmodernism attaches to "critique," which gives postmodernism its sickly passive aggressive quality and chronic "ironic" tone.

There is no democratic remedy for the postmodernist condition because it is precisely democracy that brought us to this degenerate state. So, like the Romans in Cavafy's poem, we wait for the barbarians to arrive, hoping that they will do what we enfeebled Western men are incapable of doing: put women back in their place.

Why so much energy

and invention in '60s music and so little in '60s art?

From the '60s onwards the nominal arts become of strictly academic interest.The contrast between the energy of the counterculture and the enervation of '60s institutionally sponsored art is striking. Just at the moment when things were heating up on streets, campuses, and music venues, things were cooling down in galleries.

The best thing that came out of modernism was primitivism, but by the 1960s, primitivism in art was in abeyance. When it resurfaced in the '80s as Neo-expressionism, things weren't the same, probably because Neo-expressionism had something inauthentic about it due to its self-conscious invocation of the original expressionism; it was the expressionism of artists who had learned about it in art school. Plus, by that time the elite's war against masculinity (postmodernism) had already been declared and primitivism needed an ironic cover in order to be smuggled into institutional settings.

Fast forward to today and both art and music are equally boring.

 

So maybe American women

 will save American men from themselves.

Sobering WSJ on women's growing frustration w/ men & disinterest in marriage. Left unsaid, however:

✔️ No group of women happier than married moms w/ children

✔️ No group of women less happy than single, childless women

Analysis by @WendyRWang: https://t.co/6t3ULBdcqh pic.twitter.com/0Cfuc09UOP

— Brad Wilcox (@BradWilcoxIFS) March 22, 2025

A couple of generations of American women have grown up openly encouraged to behave like bitches.  So the best thing that could happen to American men is women losing interest in them. I don't know a single guy who is married who would not be better off alone.

I think of the counterculture

as something consumerism unintentionally produced. 

And then nullified.

The machinery of consumerism exists to incite dissatisfaction. Specifically, it is designed to create just enough dissatisfaction to make you crave the new thing but not so much that you become disillusioned with consumption altogether. 

In the '60s you had a generation that had grown up conditioned by this artificially induced appetite for something more, and I would say it was conditioned to the point where the appetite could not be satisfied by what consumerism had to offer. I would even say that at some point, consumerism produced a craving for the transcendent that threatened a complete generational rupture with the consumer economy. Hence the youthful indulgence in sex, drugs, rock 'n' roll, and esoteric non-Western spiritual practices. Young people were craving ecstatic experiences that exceeded, for a moment, what consumerism could bring to market.

Those moments of ecstasy and abandon were the beatific highlights of the counterculture.

But then the inevitable corruption set in, hastened by the internalization of that same consumerist conditioning that had incited a rebellion against consumerism. These '60s kids just couldn't kick the need for instant gratification. 

Glimpses of the transcendent are easy to come by. Music, drugs, sex offer glimpses. But to abide in the transcendent requires sacrifice, discipline, humility, and persistence, and the individuals capable of this were few. So it did not take very long for consumerism to reclaim the erstwhile rebels of the '60s.

Seeking the mystical death of the ego, many succumbed to actual self-destruction. The rest became consumers of "alternative" lifestyles dependent on alternative modes of consumption, which a consumer society was all too happy to accommodate, whether in the form of peasant blouses, beads, bell-bottoms or in the form of illicit but easily obtainable drugs.

The drugs were shortcuts to an altered state of consciousness that might have become mystical and genuinely life-changing had it been achieved with the proper techniques and proper attitude, that is, through prayer, self-discipline, and surrender to God's will. But the children of Madison Avenue did not have it in them to endure the hardships that spiritual purgation requires.

So instead of becoming ascetic mystics they became spoiled and whiny boomers.

But, yes, before the rot set in there were moments of great beauty in the '60s and most of them are to be found in the music.