-Caveat Lector- from: http://www.harborside.com/home/j/jollyroger/darkage.txt OPINION POLLING -- MASS POLLUTION WITH AN AGENDA The Origin of "POLITICALLY CORRECT" -- Under Marxism, the term "politically correct" referred to any large scale government injustice that had to be to be whitewashed to look necessary. "Politically correct" was a way to make excuses for being afraid of the rational search for truth or the use of common sense. Modern political correctness has been tamed somewhat, it is now merely a means for brainwashing and indoctrination, a way to keep people from saying "that's criminal!" THE NEW DARK AGE The Frankfurt School and "Political Correctness" by Michael J. Minnicino The people of North America and Western Europe now accept a level of ugliness in their daily lives which is almost without precedent in the history of Western civilization. Most of us have become so inured, that the death of millions from starvation and disease draws from us no more than a sigh, or a murmur of protest. Our own city streets, home to legions of the homeless, are ruled by Dope, Inc., the largest industry in the world, and on those streets Americans now murder each other at a rate not seen since the Dark Ages. At the same time, a thousand smaller horrors are so commonplace as to go unnoticed. Our children spend as much time sitting in front of television sets as they do in school, watching with glee, scenes of torture and death which might have shocked an audience in the Roman Coliseum. Music is everywhere, almost unavoidable -- but it does not uplift, nor even tranquilize -- it claws at the ears, sometimes spitting out an obscenity. Our plastic arts are ugly, our architecture is ugly, our clothes are ugly. There have certainly been periods in history where mankind has lived through similar kinds of brutishness, but our time is crucially different. Our post-World War II era is the first in history in which these horrors are completely avoidable. Our time is the first to have the technology and resources to feed, house, educate, and humanely employ every person on earth, no matter what the growth of population. Yet, when shown the ideas and proven technologies that can solve the most horrendous problems, most people retreat into implacable passivity. We have become not only ugly, but impotent. Nonetheless, there is no reason why our current moral-cultural situation had to lawfully or naturally turn out as it has; and there is no reason why this tyranny of ugliness should continue one instant longer. Consider the situation just one hundred years ago, in the early 1890's. In music, Claude Debussy was completing his {Prelude to the Afternoon of a Faun}, and Arnold Schounberg was beginning to experiment with atonalism; at the same time, Dvorak was working on his Ninth Symphony, while Brahms and Verdi still lived. Edvard Munch was showing {The Scream}, and Paul Gauguin his {Self-Portrait with Halo}, but in America, Thomas Eakins was still painting and teaching. Mechanists like Helmholtz and Mach held major university chairs of science, alongside the students of Riemann and Cantor. Pope Leo XIII's {De Rerum Novarum} was being promulgated, even as sections of the Socialist Second International were turning terrorist, and preparing for class war. The optimistic belief that one could compose music like Beethoven, paint like Rembrandt, study the universe like Plato and Nicolaus of Cusa, and change world society without violence, was alive in the 1890's -- admittedly, it was weak, and under siege, but it was hardly dead. Yet, within twenty short years, these Classical traditions of human civilization had been all but swept away, and the West had committed itself to a series of wars of inconceivable carnage. What started about a hundred years ago, was what might be called a counter-Renaissance. The Renaissance of the fifteenth and sixteenth centuries was a religious celebration of the human soul and mankind's potential for growth. Beauty in art could not be conceived of as anything less than the expression of the most- advanced scientific principles, as demonstrated by the geometry upon which Leonardo's perspective and Brunelleschi's great Dome of Florence Cathedral are based. The finest minds of the day turned their thoughts to the heavens and the mighty waters, and mapped the solar system and the route to the New World, planning great projects to turn the course of rivers for the betterment of mankind. About a hundred years ago, it was as though a long checklist had been drawn up, with all of the wonderful achievements of the Renaissance itemized -- each to be reversed. As part of this "New Age" movement, as it was then called, the concept of the human soul was undermined by the most vociferous intellectual campaign in history; art was forcibly separated from science, and science itself was made the object of deep suspicion. Art was made ugly because, it was said, life had become ugly. The cultural shift away from the Renaissance ideas that built the modern world, was due to a kind of freemasonry of ugliness. In the beginning, it was a formal political conspiracy to popularize theories that were specifically designed to weaken the soul of Judeo-Christian civilization in such a way as to make people believe that creativity was not possible, that adherence to universal truth was evidence of authoritarianism, and that reason itself was suspect. This conspiracy was decisive in planning and developing, as means of social manipulation, the vast new sister industries of radio, television, film, recorded music, advertising, and public opinion polling. The pervasive psychological hold of the media was purposely fostered to create the passivity and pessimism which afflict our populations today. So successful was this conspiracy, that it has become embedded in our culture; it no longer needs to be a "conspiracy," for it has taken on a life of its own. Its successes are not debatable -- you need only turn on the radio or television. Even the nomination of a Supreme Court Justice is deformed into an erotic soap opera, with the audience rooting from the sidelines for their favorite character. Our universities, the cradle of our technological and intellectual future, have become overwhelmed by Comintern-style New Age "Political Correctness." With the collapse of the Soviet Union, our campuses now represent the largest concentration of Marxist dogma in the world. The irrational adolescent outbursts of the 1960's have become institutionalized into a "permanent revolution." Our professors glance over their shoulders, hoping the current mode will blow over before a student's denunciation obliterates a life's work; some audio-tape their lectures, fearing accusations of "insensitivity" by some enraged "Red Guard." Students at the University of Virginia recently petitioned successfully to drop the requirement to read Homer, Chaucer, and other DEMS ("Dead European Males") because such writings are considered ethnocentric, phallocentric, and generally inferior to the "more relevant" Third World, female, or homosexual authors. This is not the academy of a republic; this is Hitler's Gestapo and Stalin's NKVD rooting out "deviationists," and banning books -- the only thing missing is the public bonfire. We will have to face the fact that the ugliness we see around us has been consciously fostered and organized in such a way, that a majority of the population is losing the cognitive ability to transmit to the next generation, the ideas and methods upon which our civilization was built. The loss of that ability is the primary indicator of a Dark Age. And, a new Dark Age is exactly what we are in. In such situations, the record of history is unequivocal: either we create a Renaissance -- a rebirth of the fundamental principles upon which civilization originated -- or, our civilization dies. I. The Frankfurt School: Bolshevik Intelligentsia The single, most important organizational component of this conspiracy was a Communist thinktank called the Institute for Social Research (I.S.R.), but popularly known as the Frankfurt School. In the heady days immediately after the Bolshevik Revolution in Russia, it was widely believed that proletarian revolution would momentarily sweep out of the Urals into Europe and, ultimately, North America. It did not; the only two attempts at workers' government in the West -- in Munich and Budapest -- lasted only months. The Communist International (Comintern) therefore began several operations to determine why this was so. One such was headed by {{Georg Lukacs}}, a Hungarian aristocrat, son of one of the Hapsburg Empire's leading bankers. Trained in Germany and already an important literary theorist, Lukacs became a Communist during World War I, writing as he joined the party, "Who will save us from Western civilization?" Lukacs was well- suited to the Comintern task: he had been one of the Commissars of Culture during the short-lived Hungarian Soviet in Budapest in 1919; in fact, modern historians link the shortness of the Budapest experiment to Lukacs' orders mandating sex education in the schools, easy access to contraception, and the loosening of divorce laws -- all of which revulsed Hungary's Roman Catholic population. Fleeing to the Soviet Union after the counter-revolution, Lukacs was secreted into Germany in 1922, where he chaired a meeting of Communist-oriented sociologists and intellectuals. This meeting founded the Institute for Social Research. Over the next decade, the Institute worked out what was to become the Comintern's most successful psychological warfare operation against the capitalist West. Lukacs identified that any political movement capable of bringing Bolshevism to the West would have to be, in his words, "demonic"; it would have to "possess the religious power which is capable of filling the entire soul; a power that characterized primitive Christianity." However, Lukacs suggested, such a "messianic" political movement could only succeed when the individual believes that his or her actions are determined by "not a personal destiny, but the destiny of the community" in a world "{that has been abandoned by God} [emphasis added-MJM]." Bolshevism worked in Russia because that nation was dominated by a peculiar gnostic form of Christianty typified by the writings of Fyodor Dostoyevsky. "The model for the new man is Alyosha Karamazov," said Lukacs, referring to the Dostoyevsky character who willingly gave over his personal identity to a holy man, and thus ceased to be "unique, pure, and therefore abstract." This abandonment of the soul's uniqueness also solves the problem of "the diabolic forces lurking in all violence" which must be unleashed in order to create a revolution. In this context, Lukacs cited the Grand Inquisitor section of Dostoyevsky's {The Brothers Karamazov}, noting that the Inquisitor who is interrogating Jesus, has resolved the issue of good and evil: once man has understood his alienation from God, then any act in the service of the "destiny of the community" is justified; such an act can be "neither crime nor madness.... For crime and madness are objectifications of transcendental homelessness." According to an eyewitness, during meetings of the Hungarian Soviet leadership in 1919 to draw up lists for the firing squad, Lukacs would often quote the Grand Inquisitor: "And we who, for their happiness, have taken their sins upon ourselves, we stand before you and say, `Judge us if you can and if you dare.'" The Problem of Genesis What differentiated the West from Russia, Lukacs identified, was a Judeo-Christian cultural matrix which emphasized exactly the uniqueness and sacredness of the individual which Lukacs abjured. At its core, the dominant Western ideology maintained that the individual, through the exercise of his or her reason, could discern the Divine Will in an unmediated relationship. What was worse, from Lukacs' standpoint: this reasonable relationship necessarily implied that the individual could and should change the physical universe in pursuit of the Good; that Man should have dominion over Nature, as stated in the Biblical injunction in Genesis. The problem was, that as long as the individual had the belief -- or even the hope of the belief -- that his or her divine spark of reason could solve the problems facing society, then that society would never reach the state of hopelessness and alienation which Lukacs recognized as the necessary prerequisite for socialist revolution. 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 this task, there gathered in and around the Frankfurt School an incredible assortment of not only Communists, but also non-party socialists, radical phenomenologists, Zionists, renegade Freudians, and at least a few members of a self-identified "cult of Astarte." The variegated membership reflected, to a certain extent, the sponsorship: although the Institute for Social Research started with Comintern support, over the next three decades its sources of funds included various German and American universities, the Rockefeller Foundation, Columbia Broadcasting System, the American Jewish Committee, several American intelligence services, the Office of the U.S. High Commissioner for Germany, the International Labour Organization, and the Hacker Institute, a posh psychiatric clinic in Beverly Hills. Similarly, the Institute's political allegiances: although top personnel maintained what might be called a sentimental relationship to the Soviet Union (and there is evidence that some of them worked for Soviet intelligence into the 1960's), the Institute saw its goals as higher than that of Russian foreign policy. Stalin, who was horrified at the undisciplined, "cosmopolitan" operation set up by his predecessors, cut the Institute off in the late 1920's, forcing Lukacs into "self- criticism," and briefly jailing him as a German sympathizer during World War II. Lukacs survived to briefly take up his old post as Minister of Culture during the anti-Stalinist Imre Nagy regime in Hungary. Of the other top Institute figures, the political perambulations of {{Herbert Marcuse}} are typical. He started as a Communist; became a protege of philosopher Martin Heidegger even as the latter was joining the Nazi Party; coming to America, he worked for the World War II Office of Strategic Services (OSS), and later became the U.S. State Department's top analyst of Soviet policy during the height of the McCarthy period; in the 1960's, he turned again, to become the most important guru of the New Left; and he ended his days helping to found the environmentalist extremist Green Party in West Germany. In all this seeming incoherence of shifting positions and contradictory funding, there is no ideological conflict. The invariant is the desire of all parties to answer Lukacs' original question: "Who will save us from Western civilization?" Theodor Adorno and Walter Benjamin Perhaps the most important, if least-known, of the Frankfurt School's successes was the shaping of the electronic media of radio and television into the powerful instruments of social control which they represent today. This grew out of the work originally done by two men who came to the Institute in the late 1920's, {{Theodor Adorno}} and {{Walter Benjamin}}. After completing studies at the University of Frankfurt, Walter Benjamin planned to emigrate to Palestine in 1924 with his friend {{Gershom Scholem}} (who later became one of Israel's most famous philosophers, as well as Judaism's leading gnostic), but was prevented by a love affair with {{Asja Lacis}}, a Latvian actress and Comintern stringer. Lacis whisked him off to the Italian island of Capri, a cult center from the time of the Emperor Tiberius, then used as a Comintern training base; the heretofore apolitical Benjamin wrote Scholem from Capri, that he had found "an existential liberation and an intensive insight into the actuality of radical communism." Lacis later took Benjamin to Moscow for further indoctrination, where he met playwright {{Bertolt Brecht}}, with whom he would begin a long collaboration; soon thereafter, while working on the first German translation of the drug-enthusiast French poet Baudelaire, Benjamin began serious experimentation with hallucinogens. In 1927, he was in Berlin as part of a group led by Adorno, studying the works of Lukacs; other members of the study group included Brecht and his composer-partner {{Kurt Weill}}; {{Hans Eisler}}, another composer who would later become a Hollywood film score composer and co-author with Adorno of the textbook {Composition for the Film}; the avant-garde photographer {{Imre Moholy-Nagy}}; and the conductor {{Otto Klemperer}}. From 1928 to 1932, Adorno and Benjamin had an intensive collaboration, at the end of which they began publishing articles in the Institute's journal, the {Zeitschrift faur Sozialforschung}. Benjamin was kept on the margins of the Institute, largely due to Adorno, who would later appropriate much of his work. As Hitler came to power, the Institute's staff fled, but, whereas most were quickly spirited away to new deployments in the U.S. and England, there were no job offers for Benjamin, probably due to the animus of Adorno. He went to France, and, after the German invasion, fled to the Spanish border; expecting momentary arrest by the Gestapo, he despaired and died in a dingy hotel room of self-administered drug overdose. Benjamin's work remained almost completely unknown until 1955, when Scholem and Adorno published an edition of his material in Germany. The full revival occurred in 1968, when {{Hannah Arendt}}, Heidegger's former mistress and a collaborator of the Institute in America, published a major article on Benjamin in the {New Yorker} magazine, followed in the same year by the first English translations of his work. Today, every university bookstore in the country boasts a full shelf devoted to translations of every scrap Benjamin wrote, plus exegesis, all with 1980's copyright dates. Adorno was younger than Benjamin, and as aggressive as the older man was passive. Born Teodoro Wiesengrund-Adorno to a Corsican family, he was taught the piano at an early age by an aunt who lived with the family and had been the concert accompanist to the international opera star Adelina Patti. It was generally thought that Theodor would become a professional musician, and he studied with Bernard Sekles, Paul Hindemith's teacher. However, in 1918, while still a {gymnasium} student, Adorno met {{Siegfried Kracauer}}. Kracauer was part of a Kantian-Zionist salon which met at the house of {{Rabbi Nehemiah Nobel}} in Frankfurt; other members of the Nobel circle included philosopher {{Martin Buber}}, writer {{Franz Rosenzweig}}, and two students, {{Leo Lowenthal}} and {{Erich Fromm}}. Kracauer, Lowenthal, and Fromm would join the I.S.R. two decades later. Adorno engaged Kracauer to tutor him in the philosophy of Kant; Kracauer also introduced him to the writings of Lukacs and to Walter Benjamin, who was around the Nobel clique. In 1924, Adorno moved to Vienna, to study with the atonalist composers {{Alban Berg}} and {{Arnold Schounberg}}, and became connected to the avant-garde and occult circle around the old Marxist {{Karl Kraus}}. Here, he not only met his future collaborator, Hans Eisler, but also came into contact with the theories of Freudian extremist {{Otto Gross}}. Gross, a long-time cocaine addict, had died in a Berlin gutter in 1920, while on his way to help the revolution in Budapest; he had developed the theory that mental health could only be achieved through the revival of the ancient cult of Astarte, which would sweep away monotheism and the "bourgeois family." Saving Marxist Aesthetics By 1928, Adorno and Benjamin had satisfied their intellectual wanderlust, and settled down at the I.S.R. in Germany to do some work. As subject, they chose an aspect of the problem posed by Lukacs: how to give aesthetics a firmly materialistic basis. It was a question of some importance, at the time. Official Soviet discussions of art and culture, with their wild gyrations into "socialist realism" and "proletkult," were idiotic, and only served to discredit Marxism's claim to philosophy among intellectuals. Karl Marx's own writings on the subject were sketchy and banal, at best. In essence, Adorno and Benjamin's problem was Gottfried Wilhelm Leibniz. At the beginning of the eighteenth century, Leibniz had once again obliterated the centuries-old gnostic dualism dividing mind and body, by demonstrating that matter does not think. A creative act in art or science apprehends the truth of the physical universe, but it is not determined by that physical universe. By self-consciously concentrating the past in the present to effect the future, the creative act, properly defined, is as immortal as the soul which envisions the act. This has fatal philosophical implications for Marxism, which rests entirely on the hypothesis that mental activity is determined by the social relations excreted by mankind's production of its physical existence. Marx sidestepped the problem of Leibniz, as did Adorno and Benjamin, although the latter did it with a lot more panache. It is wrong, said Benjamin in his first articles on the subject, to start with the reasonable, hypothesizing mind as the basis of the development of civilization; this is an unfortunate legacy of Socrates. As an alternative, Benjamin posed an Aristotelian fable in interpretation of Genesis: Assume that Eden were given to Adam as the primordial physical state. The origin of science and philosophy does not lie in the investigation and mastery of nature, but in the {naming} of the objects of nature; in the primordial state, to name a thing was to say all there was to say about that thing. In support of this, Benjamin cynically recalled the opening lines of the Gospel according to St. John, carefully avoiding the philosophically-broader Greek, and preferring the Vulgate (so that, in the phrase "In the beginning was the Word," the connotations of the original Greek word {logos} -- speech, reason, ratiocination, translated as "Word" -- are replaced by the narrower meaning of the Latin word {verbum}). After the expulsion from Eden and God's requirement that Adam eat his bread earned by the sweat of his face (Benjamin's Marxist metaphor for the development of economies), and God's further curse of Babel on Nimrod (that is, the development of nation-states with distinct languages, which Benjamin and Marx viewed as a negative process away from the "primitive communism" of Eden), humanity became "estranged" from the physical world. Thus, Benjamin continued, objects still give off an "aura" of their primordial form, but the truth is now hopelessly elusive. In fact, speech, written language, art, creativity itself -- that by which we master physicality -- merely furthers the estrangement by attempting, in Marxist jargon, to incorporate objects of nature into the social relations determined by the class structure dominant at that point in history. The creative artist or scientist, therefore, is a vessel, like Ion the rhapsode as he described himself to Socrates, or like a modern "chaos theory" advocate: the creative act springs out of the hodgepodge of culture as if by magic. The more that bourgeois man tries to convey what he intends about an object, the less truthful he becomes; or, in one of Benjamin's most oft-quoted statements, "Truth is the death of intention." This philosophical sleight-of-hand allows one to do several destructive things. By making creativity historically-specific, you rob it of both immortality and morality. One cannot hypothesize universal truth, or natural law, for truth is completely relative to historical development. By discarding the idea of truth and error, you also may throw out the "obsolete" concept of good and evil; you are, in the words of Friedrich Nietzsche, "beyond good and evil." Benjamin is able, for instance, to defend what he calls the "Satanism" of the French Symbolists and their Surrealist successors, for at the core of this Satanism "one finds the cult of evil as a political device ... to disinfect and isolate against all moralizing dilettantism" of the bourgeoisie. To condemn the Satanism of Rimbaud as evil, is as incorrect as to extol a Beethoven quartet or a Schiller poem as good; for both judgments are blind to the historical forces working {unconsciously} on the artist. Thus, we are told, the late Beethoven's chord structure was striving to be atonal, but Beethoven could not bring himself {consciously} to break with the structured world of Congress of Vienna Europe (Adorno's thesis); similarly, Schiller really wanted to state that creativity was the liberation of the erotic, but as a true child of the Enlightenment and Immanuel Kant, he could not make the requisite renunciation of reason (Marcuse's thesis). Epistemology becomes a poor relation of public opinion, since the artist does not consciously create works in order to uplift society, but instead unconsciously transmits the ideological assumptions of the culture into which he was born. The issue is no longer what is universally true, but what can be plausibly interpreted by the self-appointed guardians of the {Zeitgeist}. "The Bad New Days" Thus, for the Frankfort 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. Political Correctness The Adorno-Benjamin analysis represents almost the entire theoretical basis of all the politically correct aesthetic trends which now plague our universities. The Poststructuralism of {{Roland Barthes, Michel Foucault}}, and {{Jacques Derrida}}, the Semiotics of {{Umberto Eco}}, the Deconstructionism of {{Paul DeMan}}, all openly cite Benjamin as the source of their work. The Italian terrorist Eco's best-selling novel, {The Name of the Rose}, is little more than a paean to Benjamin; DeMan, the former Nazi collaborator in Belgium who became a prestigious Yale professor, began his career translating Benjamin; Barthes' infamous 1968 statement that "[t]he author is dead," is meant as an elaboration of Benjamin's dictum on intention. Benjamin has actually been called the heir of Leibniz and of Wilhelm von Humboldt, the philologist collaborator of Schiller whose educational reforms engendered the tremendous development of Germany in the nineteenth century. Even as recently as September 1991, the {Washington Post} referred to Benjamin as "the finest German literary theorist of the century (and many would have left off that qualifying German)." Readers have undoubtedly heard one or another horror story about how an African-American Studies Department has procured a ban on {Othello}, because it is "racist," or how a radical feminist professor lectured a Modern Language Association meeting on the witches as the "true heroines" of {Macbeth}. These atrocities occur because the perpetrators are able to plausibly demonstrate, in the tradition of Benjamin and Adorno, that Shakespeare's intent is irrelevant; what is important, is the racist or phallocentric "subtext" of which Shakespeare was unconscious when he wrote. When the local Women's Studies or Third World Studies Department organizes students to abandon classics in favor of modern Black and feminist authors, the reasons given are pure Benjamin. It is not that these modern writers are better, but they are somehow more truthful because their alienated prose reflects the modern social problems of which the older authors were ignorant! Students are being taught that language itself is, as Benjamin said, merely a conglomeration of false "names" foisted upon society by its oppressors, and are warned against "logocentrism," the bourgeois over-reliance on words. If these campus antics appear "retarded" (in the words of Adorno), that is because they are designed to be. The Frankfurt School's most important breakthrough consists in the realization that their monstrous theories could become dominant in the culture, as a result of the changes in society brought about by what Benjamin called "the age of mechanical reproduction of art." . DECLARATION & DISCLAIMER ========== CTRL is a discussion and informational exchange list. Proselyzting propagandic screeds are not allowed. Substance�not soapboxing! 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