NWOU wants to expand our coverage of cultural topics to improve your understanding of New World Order strategies to destroy white conservative culture and white identity. This is a big topic. The radical octopus has many tentacles. Cultural destruction is planned and carried out by a variety of radical groups. Of course, many of you already know this, but we’re going to begin by addressing the naive. We’ll assume at the beginning that you have no clue that your identity has been taken over. But we’ll quickly get into advanced territory for you sophisticated readers. There is more to the media takeover than today’s topic, postmodernism.
Postmodernism is a theoretical Marxist approach to cultural destabilization. Most college students are exposed to postmodern “theory” through the writings of Paul DeMan, Michael Foucault, Jacques Derrida, and a host of ambitious imitators, but all public school students are brainwashed with Marxist politically correct slogans in elementary school. All of the postmodern theorists rely on a single strategy, to reinterpret Marx and Freud to create a new synthesis of radical psychological strategies to oppose capitalism and bourgeois culture. Marx and Freud have now been completely discredited, so these postmodern writers who want to keep a radical theory alive must create a revised interpretation of both Marx and Freud to offer something fresh to new generations of naive students. The current rage of European postmodernism is Zizek, a fat, bearded, East European bohemian stutterer whose books and speeches are as empty as a sock drawer on laundry day. Zizek draws crowds and sells books, but he never comes to any conclusion worth repeating, it’s all just circular reasoning. But Zizek looks more normal than Jean-Paul Sartre, the bug-eyed dwarf with a deep Communist cruel streak who still dominates French “intellectual life.” Look closely at the Marxist leaders and you’ll see a lot of strange and repellent mutants. Their game is, they want to control you through identity politics if they can’t turn you into a pervert.
Postmodernism is wildly popular with brainwashed Marxists. This review is devoted to exposing their strategies, undoing Marxist harm, and explaining how the postmodernists control your identity by controlling media.
We’ll draw a few quotes from Ernst van Alphen, Art in Mind: How Contemporary Images Shape Thought, Chicago: The University of Chicago Press, 2005. But postmodern art is just our starting point. We’re more interested in how the mass media control your identity than how postmodern painters operate.
Don’t worry if you don’t understand the jargon in these quotes. The jargon is how they appear sophisticated and fool you into thinking they have something complex to say. Just pay attention to our interpretations, and we’ll quickly lead you to an understanding of how media control your identity.
Van Alphen notes, “Art has inserted itself in Western culture as a way of thinking about certain issues, particularly individuality, identity, and space.”
(1) Of course, art has not inserted itself into anything, art is culture, and the collective noun of “art” is not capable of action. This is one way Marxists fool the naive, by making abstractions appear to be active agents, as if history were made by forces larger than man. The interest in art as carrier of identity messages is strictly a preoccupation of postmodern Marxism. Art is much bigger than identity politics, even postmodernism is greater than identity politics, but postmodern Marxists have discovered that images can shape and distort your identity, so art becomes a vehicle for their propaganda.
Van Alphen quotes Christopher Menke: “Aesthetic experience is a negative event because it is an experience of the negation, the failure, the subversion of the nevertheless unavoidable effort at understanding. Nonaesthetic understanding is based on automatic understanding of the signifier. Aesthetic understanding confronts the viewer with the question of what this signifier signifies.”
(2) Menke implies that only ambiguous signifiers (images) in art are genuinely aesthetic. This negates the aesthetic appeal of realist and symbolic Western art by definition. It also devalues the aesthetic enjoyment of nature. This narrow definition of aesthetics justifies the postmodern strategy of manipulating signifiers (images and symbols) rather than referring to some reality. It reduces communication to a “chain of signifiers” manipulated by Marxist Surrealists. (The Marxist Surrealists invented this strategy.) Some teenagers think this distortion of images is “cool” because it is psychologically disorienting. They use the word “surreal” as if it were a good experience to be disoriented. This strategy has traveled from theater and painting into television. Now every TV show has some sequence of quick-cut juxtaposed images, usually accompanied by loud music with an insistent beat. This is how they disorient you to set you up to receive their message at the subconscious level. You think this is “art” rather than the set-up to prepare you to be conditioned, so you accept this without question.
“From a semiotic point of view, the crisis of modernity can be seen as the recognition of the irreconcilable split between signifier and signified. When the artist stops seeing the sign as a unity, the portrait loses its exemplary status for mimetic representation.”
(3) This means, Marxist propagandists can create “crisis” in social life by manipulating images.
“Postmodernism rewrites naturalism and exposes it as naturalized.”
(4) Postmodernism rejects naturalism (realism) because the unity of the representation and that which is represented is a normal, unifying, and stabilizing mode of communication. This unity of communication in art must be disrupted in order to destabilize the society and confuse you about your identity. Disrupting the unity of the image and what it refers to means destabilizing individual identity, creating identity confusion.
“Warhol’s portraits were ironic mythification that removed subjectivity from the subject. It reinforces the idea that identity is constructed rather than authentic. The star is a public substitute for subjectivity. The mass media empty the subject of subjectivity, of selfhood. The star’s individuality is the sum product of its images, which is why pop art prefers multiple images, even multiples of exactly the same image. Pop art falls prey to the fantasies of feminism and psychoanalysis that the masquerade (stereotype) of woman is not an error of stereotype but rather the product of both inner and outer processes that are governed by artistic convention, or what Lacan calls the symbolic order. This symbolic order is invested with power (ideology) that operates through media to produce representations serving capitalism.”
(5) The idea that identity is constructed rather than inherent in the person is the crucial theoretical belief of Pavlovian psychology, feminism, identity politics, and Communism that allows them to manipulate media to fool you. Of course Communist stereotypes are “constructed,” but the Left never says this about itself. What is really going on here is the rejection and devaluation of genuine ethnic and cultural identity in the art of the past and the substitution and elevation of a “constructed” identity (Communist stereotype) by which naive people are persuaded to adopt new identities so that they can be colonized under Communism. The postmodern strategy for control over art and media is to introduce anxiety about identity, then switch your identity from genuine ethnic and cultural sources to the approved Marxist models and stereotypes. Advertising and TV programming are mostly modeling. They show you the “approved form.” You imitate it because you’re a dumb monkey.
Marx and Engels were themselves devoted to the ethnic stereotypes of the mid nineteenth century. Marxism is actually based on rigid abstract stereotypes that allow of no modification (the evil capitalist, the revolutionary worker, etc.). Marxism is a pseudoscience based on imaginary stereotypes and imaginary historical forces.
But postmodernism ignores the old Marxism and substitutes a revised Marxism because history has proven Marxism false. Revised Marxism is based on Pavlovian conditioning psychology. It rests on the belief that anyone can be made to believe anything if they are rigorously conditioned to do so. Communist brainwashing techniques rely on applying torture to political prisoners to elicit denunciations of past identity, then offering rewards for self-constructing a “new identity” in line with approved Communist stereotypes. This strategy is simply being applied to art in a softer, less forced fashion. Undesirable stereotypes are denigrated and new models are offered as correct. Postmodern Marxist art replaces one set of stereotypes with another.
Being taken over by postmodern Marxism is like being taken over by a fantasy about a pseudoscience. If Marxism is chemical Swiss cheese, postmodernism is that industrial cheese you squeeze out of a bottle, not even real cheese, just cheesy flavor guck. When you adopt a new postmodern identity, you are being taken over by a fantasy about a pseudoscience.
The strategy is used not only in portraits but also in movies, TV situation comedies, comic books, novels, etc. The main point to grasp in mass media “conflict narratives” is that the old culture and the old person are ridiculed and made to seem ineffectual, while the “new person,” the feminist, the black radical, the gay activist, is portrayed as “having the right attitude” to “lead the cultural revolution.” In comic books, Nietzsche’s Superman is given a variety of forms to seduce children away from ethnic cultural role models. Superman’s superpowers are justification for reorienting children’s identities, allowing them to meddle in other people’s business and short-circuit the approved cultural methods for handling problems and conflicts. Most content in the mass media today is aimed at the pre-teen level of Communist brainwashing to split children away from identification with their own family and society and history so that they can imagine they are “empowered” to “save the planet” as “global citizens.” This works so well because parents allow the brainwashing and fail to counter it with robust models from their culture.
“Pop art portraits are not “media criticism” or even “bourgeois consciousness criticism” but a form within which new ideas about femininity can be expressed.”
(6) Don’t worry about what pop art is or isn’t. The point is that the pop art portrait and the celebrity photograph are where the Surrealist strategy of subversion are being applied. Actually, these “new ideas about femininity” aren’t new ideas about femininity, they are feminist ideas about pseudofemininity, the suppression of the genuinely feminine by the pseudomasculine idealized radical feminist change-agent. The pseudomasculine model of femininity is the approved Marxist change-agent model for naive young girls.
As this feminist stereotype becomes more prevalent on television, TV becomes unwatchable for the normal male, who is instinctively disgusted by the mixing of the pseudomasculine with the feminine. Feminists have now made impressive inroads on television, but all such spokesmodels suffer from the same lack of credibility among male viewers, who are naturally disgusted by the mixing of the masculine with the feminine form. Women seem more accepting of feminist Communist models, which is why we believe there is some fundamental flaw in the psychology of many white women. But we don’t quite have a handle on what exactly this weakness is, and so we’ll save this topic for discussion later. For now, the point is that television experiences a continuing crisis of credibility by forcing nonexpert Marxist feminists as spokesmodels on a population that knows these women are carrying Marxist messages and have no credibility about anything of real substance. The insistence of the Marxist controllers on continuing this charade of “feminist expertise” leads to declines in viewing and may ultimately render TV obsolete as a medium because of its Marxist contamination. Men are naturally disgusted with this juvenile propaganda, but women accept it more readily, which is why TV is becoming a female medium.
The charade of the “expert feminist” is particularly obvious in financial reporting. Financial programs are unwatchable, not just because of the cheerleading for global monopoly capitalism but because the women know so little about economics.
“One strategy is to make the portrait appear fictional rather than historical to call attention to its fictive construction.”
(7) This postmodern art strategy has taken over the “art world”, but the art world is widely perceived as superficial and corrupt for this very reason. The strategy backfires with the public because it is not genuine historical realistic imitation on the canvas that is constructed, it is the strategy of subversion that is constructed. Postmodern theory fails to address the audience’s rejection of postmodern art as ugly and meaningless precisely because this art destroys the relationship to the real world and substitutes ugly, constructed, and psychologized distortions of genuine identity. Only naive fools believe that distorted pop art portraits are art.
There is a close parallel between these artistic strategies of presenting Communist stereotypes and the real personalities of Communist agents. As we have emphasized in previous posts, only the most sadistic, perverted, cruel Darwinian personalities are drawn to Marxism. The personality profile of the average politician most closely resembles the personality profile of the psychopath. Postmodernism presents these perverts as normal while devaluing normal people. For example, in feminism normal men are presented as sexual predators, child abusers, rapists, undisciplined and cruel exploiters of women. Exactly the opposite is the case, of course. The Left worships the Marquis de Sade, and the Communist elites are the true cruel Sadists of history, the true oppressors, exploiters, and mass murderers.
Postmodern art strategies drift over into “social theory” because genuine social identity must be undermined for Communism to recruit its agents. People aren’t going to be enlisted into working for a world Communist state unless they are made to feel there is something wrong with their previous identity. This means, magnifying any discontents or grievances, inducing rebellion, then crystallizing the new personality under Communist control. The point of postmodernism is, they don’t need to send you to a prison camp to accomplish this identity transformation, they can do it in the public schools and with modeling on TV.
Understanding how postmodernists fool you is so important that we want to summarize the main points of this post.
- Postmodernism, feminism, black radicalism, gay radicalism, and all other identity politics are Communist strategies of subversion and takeover. World citizen and ecological activist are also Communist stereotypes.
- The strategy in art is to break the relation between the image and what it refers to. Image distortion induces anxiety. They must make you anxious before you will be receptive to the new Communist stereotype.
- Modeling the new stereotype is sufficient to convert you from a stable identity to a manipulated identity. They just have to get you to identify with the new model. Your identity becomes whatever you identify with.
- After hours and hours of TV programming, you will identify with what you have seen presented to you. TV programming is programming you. That’s the point. If you don’t buy the products and the stereotypes, they go out of business. You must align with their modeling to be taken over and controlled.
- TV is the perfect mix of the New World Order alliance between monopoly capitalism and international Communism. Buy brand-name products and live under politically correct stereotypes and slogans.
- To undo the brainwashing, you have to remove yourself from the slime and recapture your genuine identity. This is particularly true if you went to public schools.
There is more to come. You have to master this material to proceed to deeper levels.