The essence of modern art is the negation of beauty. The value of beauty – along with its association with the sacred – is inverted. Ugliness and vulgarity are now put forward as ‘art.’
The method for how this is done:
Beauty has two forms: 1) beauty-without-form (generalised beauty), 2) and beauty-with-form (the beauty of particular things.) There is, additionally, the perennial connection between the aesthetic and the sacred.
This gives three means of inverting beauty:
Inversion of beauty-without-form
Inversion of beauty-with-form
Inversion of aesthetic/sacred link
We will begin by looking at 1) beauty-without-form.
It has been voted the ugliest building in London, a city which has had
more criminally distasteful erections than Jimmy Saville. I attended a
debate at the Barbican centre for the battle of ideas conference on
the subject of conflict between architectural modernisation and
preservation. As I approached the sprawling, barbaric, Brutalist
beast, whose concrete entrails spill forth in every direction, I was
deeply disgusted in a palpably physical sense. The only redeeming
features, the conservatory and ponds, are those which rely on the
inherent and eternal beauty of nature. The building itself wilfully
ignores the history of the land it was built upon; its construction,
therefore, was an act of hatred.
The human condition is unalterable. Unless mankind in its totality is profoundly altered by some artificial or supernatural means, the fundamentals; his motivations, instincts and behaviours will remain set. There is no linear line of progress and there is no ‘right side of history’. Civilisations can only ever progress to a peak point of stability and material prosperity. In order to survive any great test of time, efforts must be made to preserve the foundations, limitations must be placed on further developments, and unnecessary experimental alterations must be avoided. As with any important piece of architecture, structural integrity, stability and longevity should be treated as paramount. If not, boundlessness will give way to ruin, paradise is lost, and the once lofty civilisation will plunge itself back into the primordial swamp from which it sprung. Unfortunately, a conservative attitude is no guarantee of a continued existence. Civilisation is the product of exceptional individuals, and exceptional individuals are rather few and far between.
As man is neither perfect or indestructible by design, a perfect or indestructible man-made system or civilisation is not possible. A stable and orderly system, built upon man’s immutable nature and functioning in accordance with it, is.
The Hero’s Journey (aka The Monomyth), as outlined by Joseph Campbell
Culture may be described as a product of both logos and mythos, with both modes of interpretation and understanding working in synthesis, or with one as a product of the other. Artists, musicians, poets, philosophers, theologians, political theorists, statesmen and others rely on the tools of logos in order to create their own works of mythos. While some my favour and utilise one to a greater degree than the other, the realm of culture is a playground of both the concrete and the abstract, the rational and the intuitive. The academic study of mythology itself may be best understood as the application of logos to the products of mythos. This is nicely illustrated by the term’s etymology.
A theme of particular prominence and endurance in the mythological canon is that or the hero and his journey. The hero, upon hearing the call to action, typically embarks upon a dangerous journey into the unknown. Often, this journey is a descent. Often, as with Psyche, Horus and Christ, it is a descent to the very bottom of the pit, down to Hades, the Egyptian underworld, to Hell. Christ shares common themes in the unlikely form of Dionysus, who, like Shiva and many other deities, exemplifies the long tradition of the dying-and-rising God of life-death-rebirth. The hero who returns from the underworld expresses a number of eschatological themes, with the cyclical nature of time and existence being one of the most prominent.
“In imitating the exemplary acts of a god or of a mythic hero, or simply by recounting their adventures, the man of an archaic society detaches himself from profane time and magically re-enters the Great Time, the sacred time.” – Mircea Eliade
The artist and writer Wyndham Lewis, born Percy Wyndham Lewis, styled The Enemy, was born on 18th November 1882 and is still very much alive, even if a cross-section of his brain has been dunked in a perspex case of formalin and stored in the Pathology Museum now in Hammersmith. A naturally rather antagonistic chap, he hit the London art scene like a dishevelled brick upon his arrival from Canada in 1908, and, while his effect on mainstream culture was extremely limited in his own time, his influence on the modernist movement from the 1910s onward has transformed contemporary art both in terms of succession and reaction to his life, politics, and work.
As all true nationalists know, and indeed anyone left with any common sense, different races create different cultures because the races of men are intrinsically different. This means that wherever one goes in Europe, one finds cultures that, while having regional differences caused by historical distance between groups and national differences caused by political boundaries, are nonetheless similar in character. In contrast, if one travels further to the Middle East or Africa, the cultures there are utterly alien.
This is why Oktoberfest has attracted people from all over the world and yet its clientele has remained 99% White European despite attempts at “diversification” (see above). In Islamic societies, of course, the consumption of alcohol is either frowned upon or forbidden. This contrasts quite starkly with the White European tradition where alcohol has always been consumed, sometimes for the better and sometimes for the worse. Sensible drinking enhances a pleasurable evening, but one ought never to make an important decision after a few pints: “When the beer is in, the wits are out,” as we say in Yorkshire.
Granville Thorndyke is a youtuber with a knack for marrying imagery to words. By juxtaposing the poetry of Coleridge against scenes from the void, TheAncient Mariner is transformed into our wearynarrator upon a sea of lost souls. The result is harrowing.
By virtue of being alive, I feel obligated to those who have made my material existence possible in the first place. This sense of obligation and responsibility does not stop short of my immediate family but extends to every sage, warrior, and innovator who have fought to preserve my people and the land I live on.
For those of us fortunate enough to have grown-up with some semblance of parental involvement and guidance, most of what struck us as unfair at the age of six probably make perfect sense to us as reasonably mature adults. We understand that the limitations placed upon us were, for the most part, entirely for our own benefit. Boundaries kept us safe from harm, behavioural expectations ensured that we were fit for society, rules and regulations provided us with a sense of security and stability, and denial made us all the more appreciative of any privileges we did receive. As the years went by, parental authority softened and we were afforded more and more of our little freedoms; freedom to choose, freedom to decide, and freedom to accept this or reject that. Of course, these newly granted liberties turned out to be conditional. ‘With freedom comes responsibility’, as the saying goes. Without self-restraint, self-denial and the ability to self-limit, freedom gives way to chaos, therefore freedom is absolutely out of the question. And so our parents guide, nurture and provide for us as children, while our duty to them is to stand as the fruits of that labour, provide them grandchildren, and to offer them care in their old age. It is through a sense of responsibility and obligation that we ensure that life consistently improves for each successive generation. Families, and by extension, communities, nations and empires are built and sustained through self-sacrifice, not self-indulgence. As soon as the individual is elevated above the community that birthed and sustained him, that community starts to decay.
One of the most pernicious facts of politics is that the left has every incentive to encourage the spread of mediocrity, degeneracy and failure. The essence of the political left is egalitarianism; the view that all humans are “equal”. It is vital then to ask then, who favours egalitarianism? Aside from the leftist political and cultural elite who directly stand to increase their power from it, the people who most benefit from egalitarianism are those who are resentful or failing. People who are doing well don’t want to be dragged down to the level of equality, but those doing badly gain from being elevated to a position of equality. Therefore, the political left has an extremely strong incentive to increase the number of people who are failing in society or who perceive themselves as such. If we examine the political platform of the left, this pattern occurs time and time again.
The artist Charles Krafft should need no introduction to people on the Alt Right. His infamy in the art world is such since his “outing” by The New Yorker, The Guardian and other leftist publications. His exhibits in museums and art galleries now come with public health warnings. He is currently exhibiting in Texas and we wish him well and ask that others support him and invest in his work. Here he explains in his own words:
“CONJUGAL VISIT” is the name of a body of work with a prison theme that I prepared last year (2015) for an exhibition in the East End of London. My idea was to commemorate some of the more notorious American and British penitentiaries and their famous inmates on china. Due to juvenile social media shaming at the Not Banksy forum and a spate of obscene phone calls made to the gallery the show was cancelled before it opened and the work never got seen there. Texas is the crown jewel in America’s burgeoning prison industrial complex so I can think of no better place than Houston to premiere this work plus a selection newer and seldom seen pieces from my ongoing Porcelain War Museum and Disasterware™ series. Let’s hope the Iron Curtain of social justice sanctimony in the visual arts doesn’t drop again.
Luckily, his trip to London was not entirely wasted and I had the pleasure of welcoming him to the London Forum. Here is his speech: