From the production line of the musical industrial complex, a new song had just been released by the girls from Depopulation Agenda, called Ode to the Forces of Indoctrination. A few lyrics may be seen below by kind permission of their management:
Tucker Carlson has been removed from Fox News for treasonously confusing the masses by emitting slices of truth about big issues from, believe it or not, actually within the ranks of the Unified Army of Fake News Networks (UAFNN). As Robert F. Kennedy puts it below (click to enlarge):
A short while back James O Keefe was removed from basically his own organisation Project Veritas just after the massive expose of Pfizer where a secretly filmed senior figure of Pfizer repeatedly talked of how Pfizer were intentionally working on creating mutations of Covid for which they would then supply the “vaccine.” This of course made very good business sense.
A quick thought on the phenomenon of tearing down statues within the modern progressive movement. There’s no need to go into the particular cases and the declared justification for their tearing down; instead it’s better to look at the phenomenon as a whole and it’s reason for being. It’s very simple. Marxism, wokeism, etc are best understood by the broader term progressivism, which is the cult of progress, and within this supposedly scientific and deterministic doctrine, humanity must and will progress to a golden future. The job of its adherents is to facilitate this path to the future, and of course away from the past. The past is by definition bad, and to be moved away from. Thus the tearing down of statues is a kind of icon of progress, of the defeat of the past, which we are committed to moving away from.
Also, to add, because progress must keep progressing, it’s probably much better to attack the past than put up icons to progress - like Lenin or Obama or some convenient martyr - since they will also become soon the past also, which we must in turn progress beyond.
Maybe it would be better if for this short clip had cut before the other character complains about his day, but it is an interesting juxtaposition of the divine world into which he has been glimpsing, and now straight back to the all too human world of self-absorption and its neurosis! To add, that cut to the room does show the extraordinary eye, or visual and truth sense of Tarkovsky himself, “like a prayer” as the character has just said when watching the icons. The film though I don’t think is balanced correctly, and while possessed of slices of deep genius, is also at times is a pretty tedious slog, especially when too much attention is given to the worlds of those characters in it who have no inner movement towards mystery and holiness, but instead are happily, or of course ultimately unhappily, mired in that self-absorption.
This ends up going a bit all over the place but I’ll just post it anyway.
I think across all cultures and traditions of the world, the deepest, purest art is within the icons of Christian Orthodoxy. Here is great beauty and also the deepest emotion, but even beyond emotion - which we could say is the human causal domain , an emotional response to such and such a stimulation - but here we are simultaneously within the uncaused realm of holiness which in turn is looking with love and sorrow into the human world. There is a great purity in for instance Chinese and Japanese landscape painting, also imbued a mystical spirit, but this is pretty much confined to the landscape, and doesn’t really go into the consciousness of the individual human life.
To throw in: here as with the above icon, the painting is beautiful but not with sensuality as the highest end. The spirit of course is higher, and to which the beauty bows down, as it were, By comparison with an artist like Klimt, the art doesn’t reach beyond the material, and instead sensuality and sentimentality are the highest end. As this extends in Klimt’s own art, and by natural extension in into the works of Egon Schiller, since the sensual world ends in death, however much it might like to exult in all the physical beauty, the art ends up beginning to sicken of itself and become more manifestly decadent and then openly neurotic and corrupt.
The great split or schism in Christianity of a thousand or so years ago, arose largely from the western doctrine of the Filioque, which denigrates the Holy Spirit, God’s active spirit in the world, and which without going into it is human vanity and false rationality interjecting itself into divine wisdom, and polluting the waters of human culture. With this denigration of the place of the Holy Spirit, Christianity under Rome loses that in dwelling of the spirit, and the faith becomes an abstract belief system. This rationalising spirit, moving further and further from the spirit, leads on to endless further schisms, such as with Protestantism, and naturally further onto the seeming self-evident truth of atheism - since the spirit has disappeared from view. The desire for higher truth then leaks into atheistic cults like socialism, where in the absence of the spirit, heaven is to be created by human reason on earth,
Even the greatest Western artists, while possessed of great technical ability, as reflective of this process a moving away from the spirit and by apparently exalted compensation, descend into naturalism as the inevitable corollary to moving away from the supernatural, or being possessed inwardly by the spirit. In time they will also lose that naturalism also - as Jesus says, those that have not, as in the Spirit, even that which they have will be taken away - as reason rests on faith in the first place, faith in the given meaningfulness of language and its connection to life, then, losing that faith, even their reason will depart, and for instance we will end up with men competing in women’s sports! And they will think that is a sign of their sophistication! This process can even be mirrored in Western art where after losing the spirit, “gaining” matter, such as Renaissance art’s obsession with perspective, then in time, wedded to a false rationality that eventually destroys itself, art goes into the sterile dead end of total abstraction.
Someone fell into a pit, it must have looked nice from afar, but once inside in it, after a while anyway, the only good thing about being in it was you knew you wanted to get out of it, unless perhaps you enjoyed in in there - and there were some of those also, whatever was wrong with them. Quite a few though were trying to get back out, realised it wasn’t where they wanted to be, and were climbing up the sides, but the sides were slippy, and however far anyone got, eventually they would lose their grip, their balance, and fall sliding back down again. It might be quite a while before, however things would go back down in the pit, they would begin to climb back out of it. And again they might make some genuine headway, but however much they did make and however optimistic they might legitimately feel about it, the headway, sadly in the end they would slide back down again. The shame of it! They must have lost focus or taken things, their progress for granted or something, and down they’d go.
So someone of this spectacle, having gone through this process again and again, finally in recognition and despair told himself I can’t do this on my own, and called from this despair for help from above. A rope was lowered from this above and holding onto the rope, he was pulled out. Joy! Why didn’t I think of it earlier, he wondered. It was obvious I couldn’t do it on my own. But then again, all of us, all genuinely trying to escape up the sides through our earnest and genuine efforts, we all really did think we could do it on our own.
