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From Ike with love: The Age of Deception (1952-2016)

Posted by nouspraktikon on July 5, 2017

Nothing has changed except our point of view, but that counts for something

It is easy to think, as the left continues to overplay its cards, that something significant has occurred, and that our trajectory towards an Orwellian future has accelerated .  On the contrary, the Trump victory has triggered a new gestalt in people’s minds.  By 2017 fairly average people can see what only hardened conspiracy theorists were willing to hypothesize as late as 2015.   Whether or not we are at the beginning of a new era, for good or ill, is a matter of conjecture.  Indisputably, we have taken our leave of a period in political history which will prompt nostalgia among anyone but truth-seekers.  While it was hardly an era of good feelings, it was held up by its laureates as a time of consensus, or at least bi-partisanship.

Rather, it seems better to call our recent past the Age of Deception.  The Great Deception consisted in draping a de facto one party system in the vestments of a two party system.  If you had said this in 1965, or 1975, or 1980, or 1994, or 2001, or perhaps even 2008…most people would have called you an extremist.

However somebody, somebody who thought extremism in the cause of truth was no vice, had already pointed this out as early as 1958.  Sure enough, his opponents, and they were legion, labeled this man a slanderer, effectively burying  his work from the sight of the general public, first using savage opprobrium, subsequently silence, and at last retrospective ridicule.   The man was Robert Welch, and the “book” he wrote, initially penned as a private circular and later published as The Politician, targeted none other than President Dwight Eisenhower as an agent of communism.

Then as now, to the half-informed mind of the general reading public, such an allegation was patently absurd.  Eisenhower was venerated as a war hero on the basis of his direction of the Allied war efforts in Europe.  Now admitedly, there are a number of ways to think about the “heroism” of strategic commanders as opposed to direct combatants, but generally, if the war is won, the public will grant the former a triumph and allow them to retire in luxurious obscurity.  “Ike’s” not-so-obscure military retirement consisted of becoming President of Columbia University.  After that, for reasons most people are rather vague about, he was drafted to become the Republican candidate for another kind of presidency, nominated over Sen. Robert Taft of Ohio, the last champion of the “Old Right.”

After that, we usually go to sleep in our American history class until it is time to wake up for Kennedy.  Indeed, this might be a kind of clue that something is amiss in the standard Eisenhower narrative, like the barking dog who falls strangely silent in the dead of night.  How many books, popular and scholarly, are published each year about JFK in comparison to good old “Ike” (even subtracting those chillers which focus entirely on Kennedy’s murder)?  I doubt that a ratio of a hundred to one would be far off base.  Either America’s political ’50s were incredibly boring, or there is a story which, in the view of some, were best left untold….

A few history mavens might even remember that “We…(presumably all Americans)..like Ike”…because (warning, redundancy!) he was “…a man who’s easy to like.”  And furthermore, as the campaign jingle continued with mesmerizing repetition…”Uncle Joe is worried, ’cause we like Ike!”  Of course, if Mr. Welch was anywhere close to on-target in The Politician, “Uncle Joe” a.k.a. Joseph Stalin had little to be worried about, at least in regard to Dwight Eisenhower.

If you are skeptical that “Ike” could have been a communist front man, then I can sympathize with you.  Frankly, I was skeptical myself…indeed, everybody has a right to be skeptical of startling claims.  On the other hand, if you think that it is disrespectful to raise the issue of presidential duplicity at all, then you are on shaky grounds.  You are on especially shaky grounds if you happen to be one of those people who think that our sitting president was sponsored by (today’s post-communist) Russia.

You see, after 2016 everything has changed.  Whether or not Mr. Welch’s claims regarding “Ike” can be vindicated, at the very least we are now in position to read The Politician as an objective historical account.  The Politician is a strong and scholarly witness of an already forgotten time, one that now can, and should, be approached without bias or malice.

Why Robert Welch didn’t “like Ike”

It is an uncomfortable but inescapable truth that once certain things come to one’s attention it is impossible  to “unsee” them.  There is a shift in perception which renders impossible any  return to “normal” however rosy that mythical past might have been.  For example, a beloved though eccentric uncle can seldom be restored to a family’s unguarded intimacy once he comes under suspicion of pederasty, and rightly so.  Likewise, the image of Eisenhower would be shattered, not so much as war hero, but as the epitome of a stable, normal and normalizing politician, were he to be exposed as a willing agent of communism.  Conversely, just as the suspect uncle would insist on due process, even if he knew himself to be guilty, the upholders of the Eisenhower legacy are apt to clamor for iron clad proof of what, according to mainstream historiography, would be considered an outrageous accusation.

Sadly, for the reputation of Eisenhower and our national narrative, the claims of Mr. Welch are well documented, coherent, detailed, and were compiled by a contemporary who knew the American political class of the 1950s like the back of his hand.  If you wish to keep Eisenhower in your pantheon of heroes, read no further.  If, on the other hand, you would like to see the claims against him substantiated, read The Politician.  Here, I can only provide a brief, albeit damning, sampling drawn from Mr. Welch’s researches.  Therein he documents the following egregious policies which were either authorized or enabled by Eisenhower:

*Even in his role as allied commander, the fountainhead of his public esteem, Eisenhower was allegedly (The Politician provides graphic details) complicit in the nefarious Operation Keelhaul, a rendition program which forcibly repatriated ex-Axis agents collaborating with the American forces to their home countries behind the iron curtain.  This eliminated numerous sources of “worry” for “Uncle Joe.”

*Eisenhower was instrumental, as President of Columbia University, in pushing that already left-leaning institution further in the same  direction.  He continued to associate with and hire left-wing and communist front faculty, procuring for them teaching/research endowments.  Again, the allegations in The Politician have been strengthened in the light of subsequent events.  Just ten years after the publication of Welch’s Eisenhower exposure, the University of Columbia erupted as an epicenter of the spreading “new left” movement of the ’60s.

*At the heart of The Politician’s allegations is “the politician” himself.  Prior to Eisenhower’s nomination as a candidate for president on the Republican ticket, all of his political associations had been with the left-wing of the Democrat party.  This is perhaps the most uncanny aspect of Eisenhower’s career, and the one most germane to the establishment of a faux two-party system beginning in the ’50s.  The only fig leaf concealing this duplicity was the absence of any prior political office holding (Democrat or Republican) by the President-to-be.  Again, historical retrospect adds, if not new facts, new irony to the narrative of The Politician.  Our current presidency is commonly considered exceptional, if not down right illegitimate, on grounds that Mr. Trump held no prior office and was not sufficiently initiated into the mysteries of the political class.  In the light of Eisenhower’s prior example this current “exceptionalism” can only be caviled at by those who either 1) adhere to the dangerous proposition that generalship is a political office, or 2) are willing to admit that such rules can only be broken on the left.

*Once inaugurated President Eisenhower continued the policies of FDR’s New Deal.  Indeed, programs and bureaucracies which existed only in embryo in previous administrations were fleshed out, expanded, and duplicated.  The agricultural sector is typical, and just one of the many that Welch enumerates. Amazingly, farm subsidies swelled to half of farmers’ revenue, a fact of which “Ike” was very proud.  Moreover, unlike FDR and the Democrats of the ’30s, these programs were not justified as “emergency” measures, but were considered a permanent and “normal” restructuring of the relation between the public and the private sector, i.e., de facto socialism.   This was enabled by the collapse of any meaningful two-party opposition due to the alliance between left-wing Democrats and the establishment Republicans who backed Eisenhower.  The monolithic bureaucracy, exemplified by the Department of Health, Education, and Welfare, long resisted by the “Old Right” was institutionalized under the faux two-party consensus.  Hence the public sector actually saw a spurt of growth in terms of employees and expenditure in the transition from Truman to Eisenhower.  Consequently, the national debt rose at a rate several times higher than even the Democrats had been willing to incur.

*As shocking as many of the above allegations might seem, the most controversial aspect of the Eisenhower administration was its acceptance and further entrenchment of the post-WWII National Security State system inaugurated under Harry Truman.  This has to be remembered both in conjunction with, and contrast to, the only quote that most people today are likely associate with Dwight Eisenhower, namely, his “prescient” warning against the dangers of the “military industrial complex.”  This utterance was prescient only in so far as Eisenhower was speaking prior to the Vietnam debacle, after which such forebodings became commonplace.  To the best of my knowledge Mr. Welch doesn’t reference this quote, which dates from a time subsequent to the initial redaction of The Politician, although not prior to later editions.  However, Mr. Welch frequently draws attention to rhetorical gestures made by Eisenhower through which he exculpated himself from responsibility for his suspect policies by seeming to condemn their inevitable negative consequences.   Thus he might condemn “galloping socialism” while rapidly expanding the public sector.  Seen in this light, we might take Ike’s warning against the “military industrial complex” to heart, while doubting the speaker’s innocence of the very thing he condemned.

Does this “Ancient History” even matter?

The short answer…yes, it does.

You might recall a scene in Starwars where Luke Skywalker asks Yoda about the future.  Yoda answers, “A strange thing the future, always in motion it is…”  In a sense the past is also in motion, shaped by the interpretation given it by the present.  Yet it would be too great a concession to the irrational forces of our times to say that this was a real, and not an apparent, motion.  The past must be uncovered, not invented…although the temptation to  invent myth is strong.

There is always a strong mental resistance to meddling with any society’s pantheon, or in more American terms, we might say, tampering with Mt. Rushmore.  In Mr. Welch’s day, The Politician seemed rude to the point of slander, while today it seems impious.  We might say “only” impious, when actually it’s the primal sin.  Mr. Welch mentioned something nobody was supposed to notice.  That’s impiety.

Or is it?  Note another odd thing about the Eisenhower myth, that there is no such myth!  Somehow or other Eisenhower has eluded both the pantheon and the rogue’s gallery of American history.  If the entire history of the Presidency during the ’50s elicits very little commentary, is that because the whole period was boring?  Hardly.  Rather, might not such a presidency be likened to a constant background noise, or better yet a universal solvent…the purpose of which is to set the standard of normality for “the end of history”?

Today we have come out the other end of “the end of history.”  Not that we really know how things will end, or for that matter continue.  All we know is that, for the first time in a long time the carefully scripted design for the future has suffered a setback.  The planners, whoever and whatever they may be (though from a galaxy far away I think they be not!) are in disarray and many things are back on the table which once were considered “settled.”  This may be a good thing, it may be a dangerous thing, and most likely both, but this is where we seem to be at present.

Consequently, under today’s conditions, reading, and taking seriously, the thesis in Mr. Welch’s The Politician, is no longer an act of impiety.  It is an essential measure of the road which we have traversed through the land of manipulated consensus.  Having finished that journey, we can look back at the trail-head, take stock, and get a new perspective.  However, in contrast to the fantasies of the “progressives” no perspective is better just because it is newer…only if it is truer to realities which transcend perspective itself.  Furthermore, to get at those realities one has to crunch a lot of historical data, and there is a lot of data to crunch, most of it rather unpleasant, in The Politician.

Only those with a deep urge for enlightenment need apply to the task.

 

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Posted in Constitutionalism, Culture & Politics, Economics, History, Media, Paleoconservativism, Politics, Uncategorized | Tagged: | Leave a Comment »

The Surprising Salvation in Salvador Dali!

Posted by nouspraktikon on June 27, 2017

Art (1930AD) catches up to Augustine (400AD)

For several decades had I tried, without much success, to understand the work of Salvador Dali.  And “if” (the obligatory caveat) I understand his work now, that is only because my fumbling around finally located the key to Dali, a key hidden in plain sight, and a key which I am willing to share with you now.

Dali was a Christian.

Pay no attention to the fact that Dali wasn’t your kind of Christian.  Dali wasn’t anybody’s kind of Christian, except Dali’s and (hopefully) Christ’s.  Nominally, he was a Spanish Catholic, and while nobody has ever doubted that he was very Spanish, the assessment of Dali’s Catholicism remains dubious.  Towards the end of his life the priest assigned to Dali “suggested” he illustrate the Jerusalem Bible.  These illustrations, while excellent, were hardly Dali’s best, and show uncharacteristic restraint.  Evidently Dali was put on some sort of spiritual diet, and in the process of “trying to be good” produced, predictably, good rather than great art.

When I mention Dali’s Christian art, I don’t mean his sunset productions as a Biblical illustrator, but those most tortured and characteristic works which the whole world recognizes as Daliesque.   To me, and I’m hardly alone, this art initially seemed utterly grotesque, or at best interesting as a stage in art history.  I vastly preferred Classical art, and some of the more lean and geometrical modern works.   However I was wary of the surrealists, and for that matter, today I’m more wary of them than ever.   Yet I have come to love Dali.

What changed was my perception of Dali.  I no longer hold him to either the cannons of Classical or Modern art.  I see him as a Christian artist, mediating the dispute of the ancients and and moderns, and overcoming both.

Keep in mind that Dali was always respectful of (or if “respect” is too un-Dali, “consciously indebted to”) Classical art.  In particular, he lionized Vermeer and Velasquez.  This must have irritated the artistic and literary radicals of  the mid-20th century.  The best thing that George Orwell (more sympathetic than most) could say was that Dali could pose as “a great draftsman.”  Modernists portrayed classicism as pictorial realism which had been rendered obsolete by the invention of photography.  Hence to imitate the classics was to reduce oneself to the level of a draftsman…an artist’s apprentice.

However the Christian critique of Classical art goes much deeper, in that, from the point of view of Christian witness to the effects of sin, any Classical “realism” is a lie.  However pious a Michaelangelo or even a Vermeer might be in private, the public image of their art remains essentially pagan, a portrayal of the beautiful surface of reality.  A panting like “The Artist in His Studio” by Vermeer, is either trivial or Platonic.  At worst it is trivial, a kind of pre-photograph which entertains us with the glimmering play of light on human and artificial surfaces.  At best, it is a Platonic illustration of timeless perfection, which unfortunately ignores the sin nature of both the artist and the subject.

This is the kind criticism of pagan art which Augustine of Hippo (c. 400AD) would have understood.  My hypothesis is that the young Dali had some similar inkling when he was a young man transiting from the drafting table to the surrealist salon.  Of course Dali was no theologian at the time, and whether he ever became one is a matter of conjecture.  But his intuition told him that representative art was either trivial or a lie, and thus to overcome Classical art, Dali would have to bear his cross and descend into hell.  And thus he entered the hell of surrealism.

Dali’s Divine Comedy

Here I must treat Dali’s decent into hell as a parenthesis.  The whole story is best categorized under the rubric of Cultural Marxism and sundry systems which have substituted the worship of the human mind and society for that of Abraham’s God.  I have written elsewhere, and at length, on this subject, and pending God’s permission, may do so in the future.  Suffice to say that Dali learned all the techniques of the diabolical arts and propaganda better than his masters themselves.  This greatly irritated them at the time and increasingly thereafter.

At the risk of oversimplification, a risk that I will harrow in preference to ambiguity, the surrealists were developing a technology which they hoped would drive men and women mad, not just as individuals, but in the mass, through the propagation of mass-art.  Today we are inured to the aftereffects of surrealism, in venues as diverse as European politics and American advertising.  We dismiss the MAD men as little more than a toponymic pun and reassure ourselves that nobody ever got food poisoning from watching a can of Andy Warhol’s soup.  However at its inception, the surrealist movement developed a toxic concentrate of images which were intended to drug the senses and more particularly to destroy the “common sense” of Western Civilization.  Today we can see that they, in collusion with other forces, have been quite successful.  However it took more time than the surrealists (mostly “revolution now” types) were willing to envision, which in turn has obscured their cause on our effect.

But for the moment, let’s voyage back to the mid-20th century, back to Dali.  Gradually it became clear that either Dali was not a genuine surrealist or that (as per Dali’s own view) he was the only surrealist and the others were all frauds.  Beyond the name-calling, what was really going on?  The surrealists expected Salvador Dali to put his technique at the service of their ideology.  However for Dali surrealism wasn’t an ideology, just another technique for the artist to command.  The Marxists and Nihilists could never understand this.  You aren’t supposed to be able revolt against the revolution or to annihilate nothingness.

Yet Dali did precisely that, through the employ of his not-so-secret weapon…humor.  Like Dante, he had descended into hell and emerged on the other side of the world, the side of God.  However there is a great difference between Dante’s Divine Comedy and that of Salvador Dali, i.e., the latter is actually funny.  Dante edifies but Dali entertains.

Yet there is a serious side to Dali as well.  Armed with two contrasting techniques, Classical realism and Surrealist illusion, the Spaniard was able to work in high fidelity to the message of the scriptures.  Humanity is indeed distorted and grotesque, an agent of sin descended from generations of twisted experience in the vicissitudes of time and lust.  None the less, the primal image of God is never quite erased.  Classical form remains as the necessary substance which perpetuates human existence, even when that existence has been twisted into monstrosities.  From this duality emerges an authentic picture of the human condition, a picture which neither Modernity nor Classicism on their own can portray.

Like his great predecessor El Greco, Dali distorts the classic form.  But while El Greco could only distort along one dimension (height, and that perhaps due to an ocular distortion) Dali could distort along multiple dimensions.  To give the devil his due, Dali learned this as a journeyman surrealist. Consequently, in Dali we see the painful weaving together of Humanity it both its fallen and its original state.  That this groaning of the  fallen world creates pleasure, even levity, when viewed as art is one of the enigmas of Dali, and not just of Dali but of that larger mystery of Christ in which that artist participated as a witness.

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From Old-papers to Lie-papers, this is what the media calls “progress”

Posted by nouspraktikon on April 7, 2017

Newspapers never used to contain “news”…but now the situation has been corrected

Decades ago when I heard an old monk exclaim, “These things you call newspapers…they contain nothing new!”  it was more of a self-evident truth than a revelation.  Aristotle, writing 2400 years ago, observed that if you read one book by Thucydides you didn’t need to read another history book for the rest of your life.  A lot of history has been written since then, but the principle still holds, for while the specifics of time and place may bear recording, the human comedy (or perchance tragedy) recapitulates the same old themes in every generation.  As “Rick” (portrayed by Humphrey Bogart) asked Sam the piano player to croon…

Its still the same old story,

A fight for love and glory,

A case of do or die

Of course if you really want to known the specifics of what was happening in North Africa c. 1942, Thucydides isn’t of much help.  That’s not what Aristotle or the old monk meant.  For “as time goes by” the concretes of time, place, and technology alter, but the human passions which animate the historical drama remain constant.

So I became rather casual in my attitude towards the media, deeming the daily old as soon as it was printed, and even before it redeemed its paper-value as a wrapper for the remains of maritime edibles.  Looked at in that way, there was something quaint about the Old-paper, as it regurgitated the same facts about different people while the generations cycled through their time on Earth.  To epitomize, the Weather section was paradigmatic of all the other sections.  Sun and storm might iterate through the seasons, but one never expected an entirely new form of weather to emerge.

This is not to say that novelty was entirely absent.  There was technological innovation and discovery of remote locations.  However these were like gardens which were expected to grow over time.  If there had been no innovations or discoveries, that would have been a far greater novelty. Moreover, since it was just the same expansive human nature which motivated the discovery process in accordance with human needs (or curiosity) even the greatest innovations lined up with the same doctrine of human nature.  Yet most importantly, even the greatest changes were reported on, as if they were a part of a natural order, they were not…what shall I say…they were not “promulgated.”

However I must now confess that, either I was wrong in my assumption that “no news is new news,” or something has changed.  I suspect the latter.  At some point the media moved from reportage to promulgation.  One suspects that deep in the heart of the media complex, people no longer recognize a distinction between journalism and fiction.  Selective reportage, outright suppression of facts, story-crafting, and agenda-fitting have replaced investigation.  The archetypal media man or woman no longer aspires to uncover a great story so much as to become the Great Novelist, rewriting reality according to the inspiration of their genius.  Today the newspaper has at last become a novelty.  Indeed, it has become “poetry” according to the Greek root of our word, i.e., total innovation.

In Journalism and elsewhere, Post-Modernism is past Marxism

How has this odd situation come about?  We are all aware of that confluence of factors which has changed “the news” in the past several decades, from the rise of social media to corporate concentration of the older journalistic outlets.  None the less, I am inclined to count what men and women have in their heads at the salient factor, in accordance with the principle “ideas have consequences.”  Journalists don’t just bloom like lilies of the valley, and before they are recruited into the media complex they must matriculate from the academic complex.

If it ever were, the academic complex is no longer a free marketplace of ideas.  Rather certain ideologies have gained an ironclad ascendancy on American campuses.  The most general and erudite (were it not elitist to admit) of these ideologies is so-called “post-modernism” which claims that human minds can have no contact with anything remotely resembling objective reality.  Rather, particular humans spin out their narratives, much like a caterpillar weaving its cocoon around its body.

Taken at face value, this sounds like a formula for toleration and harmony, such as was claimed on behalf of the ancient skeptics and cynics.  Those ancient “know-nothings” professed not to care about social opinion, to the point where whether a person wore clothes or not was a matter of indifference.  Whatever the merits of such skeptical liberty, it is a far cry from the atmosphere which surrounds post-modernism.  As anyone who has contact with modern academics is aware, hypersensitivity and condemnation are the qualities most apparent on university campuses today.

In reality, the hippy-like indifference on the surface of post-modernist thought masks a deeper level of ideological doctrine.  This doctrine is invariably Marxism of one or another ilk, but most especially the cultural Marxism associated with the Frankfurt school or the ideas of Antonio Gramchi.  The idea is not just to create novelty, but to create novelty which is subversive of the present state of affairs.  A new idea or a narrative which created greater harmony in society, though superficially compliant with postmodernist thought, is not sufficient.   The new narrative must be destructive of the old narratives.

This is the ideological reason why today’s media not only embrace new perspectives on human nature, but why these new perspectives are designed to create conflict and chaos.  To be sure there are other, simpler, reasons.  The most evident is the standing insight of yellow journalism that disasters sell newspapers, and that while natural disasters can’t be conjured up to order, wars and riots can be.  So today conflict, both domestic and global, is not just reported on, but spawned by the media itself.

The idea that human beings can create their own world ex nihilo is, of course, blasphemous.  But this is an attitude which goes back, behind even the Marxists, at least to Kant and the way modernity defined “culture” in opposition to nature.  Ultimately it goes back to Adam, or whoever that human was who first knowingly spit into God’s eye.  Unfortunately today’s corporate journalists are not such of whom one expects genuine, Godly, repentance.  Rather, and unlike wise King Canute, they are apt to stand stubbornly on the shore of their own subjective fancy, until engulfed by an objective tsunami far beyond their reckoning.

 

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