Musings -the Symbolist movement in the C19th - Harbinger of Evil?

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Posted by Yunus E Yunus E
 by Bel Suave

Th Third and Final Part of the Trilogy of Departure

    from: vestigial vision /
    trace elements of forgotten faculties/ originally published July 11th, 2009

    Tags: baudrillard, hvashang, Joachim of Floris, occultic, peladan, symbolists


    Two of the three mediators in Lorcas’ creative process were examined in previous posts; it’s seemly then to cast a gaze upon the Muse. Like the Diva, Femme Fatale, or Virgin, she is one of the glosses to which quite a bit of the modern womans’ persona adheres. Their collective and individual power of distortion are seldom adjudged significant, but with Muse in particular, a blind spot results from this lack of attention for which many a woman pays dearly.

    To see it in proper perspective, examine the concept of creativity as we employ that term in the western world. Creation is a dynamic principle, implying that the subject creating is active. The Muse, on the other hand, is the most passive of performers, equipped only to “inspire” those who ‘create.’ While the power to create is a biological fact in the female, it is but a proposition in the male, in whom absence of womb seems to induce crisis of identity and compensation complex together.

    Is it possible, in fact, to review the history of western culture by judging the key determinant of it’s progression the attempt to usurp the creative function from the female? I dare suggest so, at least as a hermeneutical exercise! To usurp, to reassign it to a gender which, absent innate capacity to (re)produce, has obsessively sought the tools to overcome this lack. Though the most obvious manifestation comes to light with attempts to create life outside the womb, the theme runs through every aspect of man’s scientific endeavour as a thread that forever seeks to reduce the creative function to a set of mechanical principles that can be anticipated and mastered. Hidden in every aspect of man’s theologic, philosophic, and technologic speculations is the desire that the creative principle belong to man alone, leaving both god and woman as bystanders to his omnipotence.

    Such an assertion would seem to make man, as in the male half of the human species, the culprit for just about every defect of worldly origin. But it’s not my intent to simply invert the myth of Eve, blaming Adam instead. Rather, I hope to demonstrate in these pages that wherever in history great and complex speculations lurk, there too will also be found a class of persons who imagine themselves higher and more worthy than the rest of us, male or female. They, for lack of opposition to, (or even awareness of) their designs, are allowed to make the most absurd and strangulating rules which serve no other end than to aggrandize themselves at the expense of the general polity. At worst, the majority of males could be deemed knavish, but that is very different than demonic, which is how I would describe the hegemonic vision of the caste of tricksters which seeks enslavement of man and woman both.

    Indeed, it is a subtle trick of great inventiveness that has allowed this small cabal to place itself in supposed alignment with the dispossessed or depredated, to seem of common cause with, rather than, as they are in fact, cause of those same persons’ sufferings. Although envisioned and elucidated in the Renaissance by rogues such as Bruno and Bacon, the strings of this web were not well drawn together until the late 19th century; its’ successful employ requiring that the victims of the card trick must always be willing ones. This was for the most part achieved by the end of the 20th century, as witness the destruction of western woman by means of a tortuous (mis)alignment in her own mind of her cause with that of her oppressor!

    The key to achieving this bewitchment lay in enrolling the visual arts into the cause of the techno-scientific continuum that coalesced in the occultic movements of fin-de-siecle Europe. Like an army of mutually supportive sections, artillery, cavalry, infantry, on all fronts now the magicians could march forward assured of victory in the overthrow of reality. What the Platonists had despised in the pursuit of the aesthetic, their inheritors could now confidently draw into their schemes by means of their dialectical program. He who rebelled against the mechanization of life was the perfect tool for the more rigorous application of it’s rules. The rebel against bourgeois values was the perfect dupe to aid in the quicker dispossession of the middle classes, and the re-imposition of the hierarchies of a reborn Hellenic Republic with its objective categories of slave and woman ruled by the worthy elite.

    But to reach that end would require a long interval of careful conditioning, much like the lobster cooked in the pot. Persons of greater talent and intelligence than I could draw the thread together, were they but willing! But in the absence of such persons from within the wasteland that is contemporary academia, it is I who must suffer the indisposition of trying to sort through the morass of evidence ill-hidden by the players whose secret concordance has yet to be accurately named and revealed. Provisionally, let us name it thus. Man as cosmological agent of {his own} creation.
    Stategically, the goal is manipulation of human and material nature to give this self defined elite the keys to what Joachim of Floris envisioned as a third age when “the world would be one vast monastery, in which all men would be contemplative monks rapt in mystical ecstasy and united in singing the praises of God.” In other words, a complete and total partitioning of the sexes, a conformity of purpose and practise that would brook no dispute, no escape from the hardened lines of hierarchy, and no heterodoxies, either in love or in spirit. The hell of Heloise, and her Abelard in their day, and one we seem inexorably charted towards in ours. Unless we get up off of the ropes at the bell of the 8th, and start weaving with quick steps and look of the eye which gives our opponent the cold blunt truth in their gut – we didn’t come this far to lose!

    I’d like to go further into the nature of this vision that Bruno and Bacon, Dee and that real Faustus shared, but it’s a subject of such importance and magnitude that I can only touch upon it here for the moment. Suffice to say, from what we have learned about the proclivities of man within the monastic structure, West or East, it’s not a very edifying picture, unless you share the same tendencies. The main point for now is that the pyschology of power and dominance rules supreme in all of this clique, whose ideal melds together the proto-technocratic gulags of Jesuitical Paraguay with the Hellenized erotics of Foucaults’ play of power/power of play
    When seen as the sum of their parts, religion, science and the arts all are a seamless project to recreate man as the master of the universe. The agents of this desire, in their modern form, have done an effective job of disguising their objectives, and their implicit distaste for the feminine. Once we turn things right side up however, it will be seen that both women, and the great majority of men, are to be robbed of a natural fount of lifes’ value and pleasures, as well as the dignity that comes with being in possession of their vital functions. Thus it must be specified that deified man is never ‘mankind’ as such, but rather an artificial clique of ’super’ man who has power of life and death over the rest of us. The syphlitic ravings of Nietzsche clothed in the lush rainments of Wagner become the passions of the ‘collective soul’ that ushered in the era of the Pink Swastika. The controversies between theist and atheist, capitalist and communist, creationist and darwinist are all but dialectical cinema, by the end of which performance we all are to be “equally” dispossessed of the intrinsic qualities that go to make us human in the greater sense. Which draws us back to the Muse, after the process of deifying man is complete.
    She is the screen on which the males’ luminous imaged is played. She lives on as the mute and passive inspirer, (Peladans’ “Comme on devient une fee”) solely relevant as a means of sparking the creative artist to materialize a vital aspect of truth(truth as beauty, beauty as that which is transcendent of the material, then returned to earth as the immanent and toxic presence of the hardened intellect). But even this role would be of short duration for her, because the ultimate goal of the self-deifying man is to transfer the category of beauty over to maleness, so as to live again as the Greeks, with no regard for woman other than as breeding machine(which role too, ultimately disappears, of course.) Through means of the poisoned chalice of “liberation,” a liberation mediated through pills, abortions, and the zipless fuck, a truly Gnostic liberation of enforced displacement from one’s bodily self into the realms of the virtual, woman goes willingly into the crematorium of her soul, her male counterpart a shuffling, janitorial functionary charged with sweeping up the dust, while the Perfecti anoint each other with the Gnostical body of Christ!
    If it seem hard to credit this representation of the course of history, just look at the past century or so, realizing that the artist, in whatever guise, is universally now he who is revered by an adoring female following, assigned the task of nourishing validation of his restored ascendancy(yes, the usual caveat applies, the exception merely prove the rule).
    The progress of the endeavour was gradual, but the momentum greatly increased during the last part of the 19th century such that by the time of that raving jackass Lawrence, the transubstantiation of sex into a phallic cult, still resonating with adoring young women in the late decades of the XXth, somehow represented a liberating vision of spiritualized carnality they confused with romantic love. Another artist, painter Marcel Duchamp, wrote “If we give the attributes of a medium to the artist, we must then deny him the state of consciousness on the esthetic plane about what he is doing or why he is doing it. All his decisions in the artistic execution of the work rest with pure intuition and cannot be translated into a self-analysis, spoken or written, or even thought out. T.S. Eliot, in his essay on Tradition and Individual Talent, writes: “The more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates; the more perfectly will the mind digest and transmute the passions which are its material.”

    None of this would not give the impression that artistic capacity in the female half of humanity is even a supposition. The artist is, by definition, the he who creates. The important fact disclosed here is not that early 20th century art shut women out from participation, but that the artist was already transitioning into the post muse “mediumistic” stage where woman was not required even as source of inspiration. This gradual tightening of exclusion will leave the female sex only the option of fawning adoration, by the dawn of the era of pop music. The orgasmic delight of Nuremberg stretches into the studio of Sullivan and the arenas of America Idolatrous, the sexes merging and reemerging as gender neutral consumer/worshippers of the multimillionaire priests of star culture.

    In dramatic accord with what I represent to be a sustained polemic to change both nature and role of the sexes, the forthright statements of hierophants like Joesph Peladan, (“the androgyne is the plastic ideal”) gave art and artists a new mandate to create and imagine without reference to woman save as the gutted remnant of a personification that could be reified for purposes of showing the potential psychological terrors she embodied. A symbol.
    3 years ago

    Carlos Schwab-Medusa
    Woven in with the usual motives for a new ‘artistic order’ that every generation of European artists sought to establish in their turn, the rise of the Symbolists was explicit expression of desire for woman to be purged of all that could relate with man as vital and reciprocal, as one half of the human totality. The dysfunction which caused their own morbid incapacities and narcissism must needs be spread to the rest. Obsessed and threatened by her innate capacity for creation and destruction, the artists of the movement gave themselves over to playing up the destroyer while excising the creatrix. Images of Delilah, Cleopatra, and Judith are replete with swords, poisons, and sawn heads. For woman to be granted admission as acceptable subject she must be moved into the realm of the archetype, leaving behind the markings of her own true self for a world that blurs all distinction. Thus transformed, she is even afforded the opportunity sometimes to bear wings, because the heavens are under the mastery of the transcendent male who may choose to grant her a role as messenger.
    The muse becomes angel, angel of {her} Lord.
    In this fin-de-siecle milieu, abutting both sides of the century marker, what compels the artist to create is the gnostic urge to degeneracy from which he is to rise purified and redeemed. It goes without saying that women will been induced to seek the same, although their potential for redemption is actually denied by the symbolist doctrine. What matters is that she go through the exercise, at the expense of all which is her own exclusive and natural possession by birth. The poetes maudites create the atmosphere in which what was at least macabre and intriguing in the era of Poe and the Romantics is now merely macabre and witless. Turning from their own abject submission to madness and decay, they sought to become vectors for the same in the body politic. And their inheritors imbibed that mission, no matter what change of stylistic tecnique might come into vogue.
    The movement known as Theosophy, which roughly concurrent with the rise of the Decadent and Symbolist currents gave emphasis to a syncreticism of religion and the occult well matched with the synthesis of gender sought by the avant garde writers and painters of Europe. Since mediumship at the time was still one of the areas in which women were acknowledged competent, characters like Blavatsky, Theosophy’s founder, who were fundamentally sexless in orientation acted as strong influences on the culture of the period. This complemented the intentions of the parallel artistic stream, which Peladan summed up with the memorably blunt statement “The order has one single motivating goal: to ruin sexual love, passion, and to substitute the abstract and aesthetic rites.” No better summation of the goal and desire of the faceless cabal which has hijacked western culture exists right through to the present day.
    Through Theosophy the next wave of artists, though breaking with form in favor of the abstract, were trained to carry through the mission statement intact. If I have laid out a stark enough background from which to view the present era with suitable discomfort, let’s flip back for a moment to the topical news of the day. A lot of the impact of a story like that of Michael Jackson’s is removed when the occultic aspects are left out. It’s difficult or impossible for most of us to imagine that there is in this modern day a deep web of manipulation and mind control right in our midst, financed and controlled by the state(or state within the state), and that the people(predominately children) who are victimized by the perpetrators are numberless. Since the information is suppressed in the mainstream media, it seems to lack legitimacy, and anything that does break surface(the Franklin coverup, the “temple of seth/Placidio affair”) can be scornfully dismissed as nonsense by those whose job it is to do exactly that. However, the degree of “weirdness” that one encounters in a person like Jackson demands of the impartial observer review of all possible causes, not just those which are mooted by professions like pyschiatry, which really only perform the function of naming and compartmentalizing pathologies that may have little or no relation to reality.

    This was a severely traumatized person, and the severity itself bespeaks a genesis in childhood. A witness like Brice Taylor, whose own descent into hell is testified to in the book Thanks for the Memories can be easily dismissed by those who wish to deny that many high up in the hierarchy of power in the USA are predatory perverts, but her tale of the rape and abuse of the Jackson children has a powerful resonance of truth that goes far in explaining the path of auto-destruction that ensued. All sorts of corroborating reports exist for this type of cause and effect behaviour ( a great introduction to the astonishing connections of mind control and the entertainment world can be found @ when one wishes to find them, but an awful lot seems to get vaporized, sometimes along with the sources!

    This hidden horror in plain sight of all who would dare look has an occult background because it is the agenda of a longstanding cabal which operates parasitically on humankind. There are those who would give it a completely supernatural and/or extraterrestrial genesis(greys/reptilians, and the like) but when one comes to accept the depths of depravity and madness that human beings can reach on their own, unaided, it is easier just to give it a more down to earth explanation. I personally credit the idea that there are many many forms of parasites and parasitism of this planet, and their transmission and transference is as common and deadly as the vectors we are starting to see with SARS, Swine Flu, AIDS and the like. Something, in other words, gets into peoples’ bodies, and takes over their minds. A kind of possession, whether or not you want to call it demonic, but definitely possession with a capital P, with a strong desire and capacity to infect and replicate.

    Where this leads back into a discussion of the Muse is the connection between mind controlled sex slaves, corrupted politicians, entertainers, and other power brokers, and the agenda which all of these serve: the control of western society by a group that wishes to exercise it’s complete domination over the people of that society, that fundamentally hates, fears, and despises the healthy social organism that those people have every right to live in, and that desecrates everyone and everything it comes in contact with. The economic meltdown which is only now beginning will make it easier and easier for people to take off their blinkers and see what a farce has been made of the pretension to democracy and human rights in the west, but too late for any adjustment in the tragic storyline that awaits.

    The great majority of the sources that bring information about this phenomena to light can be classified as a of the “pro-family” or “conservative values, religious right” type . While I admire their willingness to speak out against the imposed consensus of silence, I don’t share their vision or their values. In turn, I wish all resistors well, but the visions of reactionary mold are not at all likely to turn back the tide rolling our way. Indeed, I see almost all of that type of conservative resistance as being hopelessly co-opted, the perfect metaphor being the fellating evangelist who “falls prey to temptation,” an even more abject figure of ridicule than the pedophile priest. They all fall in line with the occultic tune at the end of the day, because each needs the other to keep their particular swindle going. Nobody’s getting ‘raptured’ out of the nightmare these fools have worked together so hard to produce.

    If I’ve been at all successful in communicating my point of view, the reader will glean that I have at heart here self interest, and the interests of what I would call the better part of man, as much as those of women, even though much of what I have said is framed in terms that seem resonant with the “feminist” perspective. If both “progressive” and “conservative” viewpoints seem to percolate into the mix here, truth needs be acknowledged wherever it can be found, and I deny no point of view it’s merits where they exist. But identity politics is simply a part of the divide and rule strategy of the hegemonists, so declining allegiance to any faction is a necessary pre-condition to freeing the power of vestigial vision as an antidote to trickery and deceit. Just as freeing woman from the cul de sac of the Muse and the rest of those archetypes is a necessary pre-condition to beginning the work of dispossessing the hegemonists of their plunder.

    For tactical reasons, I think it imperative that the capacity for critical thinking in women be cultivated, but I would be quick to point out that this thinking will be by definition necessarily different from the “thinking” that men and male dominated venues of communication mean by the term. It needs be in order to be of value at all. (A lot of very intelligent women have been inveigled into believing that they achieve “equality” by being trained and then put on the payroll of universities to spout out the same hopeless inanities as their sad sack male counterparts. Good luck with that.) That’s why vestigial vision is key; when I was still ponderng what to call this space, I happened across a reference in a book called Sexual Paradox to the clitoris as vestigial phallus. Apparently it was Stephen J. Gould, the respected biologist, who thought this was a a scientifically verifiable way to define the female pleasure organ. All I can say, if that’s his idea of scientific integrity, the guy might as well be a witch doctor. (Interestingly, in the female spider monkey, the clitoris of which elongates externally to the degree that it is larger than the phallus of the male, the female is socially dominant!) But then, we are more than one hundred years post Freud, and his criminally defective conceptual framework has still not been fully debunked and discredited, so what should I expect!

    Anyways, I think it helped me make the connection between science and magic, as it infects the present day. It also helped me get clear on how as well as what I wanted to communicate on this site. To get any idea across clearly requires that the communicator consider how they want that idea to be thought about, what kind of constructs are to be used in formulating it. The idea of vestigial vision bespeaks the same kind of metaphorical language as the despised clitoris, useless,(in Freudian terminology) discardable, biologically ‘impractical.’ The vision that is required to see what is hidden in plain sight, just as the clitoris is cloaked, but not invisible, retractable, and extendable, same as the male organ, but in a different way. And anything but impractical! Different, yes. Our difference to each other is a similarity we share in common with each other.

    The import of which is to say that what I/we as men require of women at this point in time is that they begin to use again a type of visioning that is intrinsic to their nature, but that they appear to have forgotten/lost heart in. It’s not impossible for men to see in the same manner, but it’s not native. It is the same as saying it’s not impossible for women to become architects, design buildings, and so forth. But it is not really intrinsic to their nature to do that, the way it fascinates men to create with space and material in that manner. That’s exactly what the womb does, organically, not mechanically. So the toys are less interesting.

    Rolling back the hegemonists requires deletion of all modes of the hegemonist vision, and the best way for that to happen is through application of another kind of vision in it’s place. Since none of us really knows what the world looks like when vestigial vision is applied, there is no authority, no hierarchy that can say what one should see, what they should do to apply vestigial vision. Kind of similar to the way things are when females think as females, anyways; less hierarchy, less imposition of structure. (Yup, unreconstructed essentialist, n’ proud of it, that’s moi.) If the strong points about the way women think were applied in equal measure to the circumstances of our lives as the way men think, then the way men think would start to get very creative and interesting. Because of the difference. Not because the two would become the same. That imposition of sameness is exactly the paradigm that the hegemonist vision enables and enforces.

    I have little doubt that Baudrillard was correct in claiming that all resistance against the “system” feeds that system. So it seems at first glance a paradox to make reference to an anit-hegemonist program. Why bother? But for all his amazing dexterity and mastery of discourse, Baudrillard was, by training, profession, and inclination, a piece of that system, in it’s philosphic guise, (which chucked Luce Irigaray out the moment she uttered the first questioning of it’s premise and values, thus defining it’s own irrelevancy) No matter whether as jettisoned waste material or willing sycophant, he had not the slightest possibililty of escaping it’s conceptual confines, and his reportage from the depths of it’s fallopian tubes was that of a cellule of the whole, not of a foreign factor. That’s what gave him such uncanny foreknowledge and accuracy. No matter how high the voltage of his violent dualism, it lit up no exit sign, nor could it produce respite from terrorisation, all tools of irony and rhetoric notwithstanding. Still just tools. He told us the truth to the extent of his ability. After that, he lied. It’s just the way it is. Too much of that existentialist crap imbibed in his tender years. There’s always a way out.

    What I have in mind is a little bit more wu wei, a kind of not doing that Keroauc almost figured out the essence of before alcohol and the too close presence of the angelic took him down. Alone of all his contemporaries he evaded the toxic inoculation of the university, that graveyard of disinterested knowledge, keeping a small spark of dangerous wisdom going inside for as long as he could evade the fogs that closed in on his lookout tower of the soul. If he never quite peeled off his skin the layer of mucosal fetal material that kept him chained to the Mother image, at least he never trampled underfoot the Maiden in the rush to seize the fruits of the Dionysian revolution that maddened all the rest of his and the following generation of artistes. That’s more an accomplishment than it might sound.

    Doing nothing. In the sense that Hvashang Mahayana held up the notion, in contradistinction to the busybody striving of the Indo Buddhist orthodoxy that won the day at Samye, meaning nothing needs doing{that is to say, fixing}, the concept of which itself is a masculine overcompensation for that lack of innate accomplishment I have referred to above. The implied passivity and receptivity of this position is less that of the stereotypical feminine principle than that of the martial artist, who invites the aggression of the opponent in order to neutralize it’s effect. We are without historical representation of what it would be like to reposition women as active player in challenging authority(in a radically different sense than that of merely aping man’s method of so doing-sorry, “anti war demonstrations” do not pass the bar here) and my imagination is not giving me much to go on either here, so all I can do is posit that if men consciously actuate non acting this will result in women being freed to creatively respond in new ways. Seems like I’m musing about man as muse. Doing nothing! And when our co-conspirators of the other sex start saying Nothing doing! to the blandishments of the puppetmasters who seek to render them sexless and spiritless, THEN WE ARE GOING TO START A LITTLE SUMPTIN SUMPTIN!

    I’ll close by indulging one speculation or prediction here. The role of the tool in the mind of man is altogether lacking the same significance in the mind of woman. What supplants, or at least takes the place of the tool in the latter might just be will (but again, as with thinking, a different form of will). Will as in a second brain, which has its’ seat in the area the Japanese call hara. Proximate to that non-spatial space we call the womb. The place where something gets assembled with no recourse to tools. Chaudron magique.

    Could there have been a time when the creative application of will by women might have done all that we’ve since spent centuries “tooling up” to replicate? What if this second brain holds a vestigial capacity to move objects in space, a tool which renders all tools obsolete?

    Except for that one tool unique to man, and for which he may yet be forgiven a thousand sins, when he (re)learns how to use it as nature intended! Well, I pray it may be so, we need some special gifts to ward off the beast which slouches our way. Me, I’m going to just sit back a while now, do a little not doing, while y’all practice moving those objects in space!
    Tags: baudrillard, hvashang, Joachim of Floris, occultic, peladan, symbolists