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PART 2 - My philosophical writings from 1992...
September 06, 2024

February 22, 1992  5:45pm
(Names are changed)
Well, Jake has returned to Toronto, and as usual, spending time with Jake, Gerald and Rich has worked my brain beyond the stratosphere.  Last night we dove into the qualitative differences between man and animals in terms of biological evolution (my argument: in animals, specialty equals vulnerability; in humans, it equals adaptability), today Gerald, Jake and I went into the failures of rationalism to answer the “why's” of life (as in why am I here etc.); my conclusion was that such questions are by definition unanswerable, and all attempts to answer them (i.e. religion, romanticism) are simply metaphors for ignorance.  The rationalist cannot provide answers for the mystic; the rationalist limits his questions to what can be answered, i.e. refuses to wank his time off with pointless issues.  It is essentially childish to run around crying “why did this happen to me?”; since the question is unanswerable beyond physical and psychological cause and effect, the purpose is not to achieve anything positive, but rather to wallow in self-pity.  Any answer gained is a lie, since there are no answers; part of virtue lies in the courage to accept this.
But can this happen?, Gerald asked.  Can people actually give up these questions?  I argued that Christianity precedes these questions; by positing a schema of fate and infinite control, Christianity creates the contradiction of cause and effect that underlies the question of why bad things happen to good people; it requires the imposition of the polarities of supernatural conflict.  The question of why an infinite God allows evil cannot be answered -- the question of “why?” proceeds from the axiom of faith.  A true atheist (and even the term posits a man against religion, and so is unsatisfactory, say instead rationalist) only asks these questions as a result of a failure of discipline.  But I'm quite tired -- I shall have to continue this later.  (Feb 22)

February 23, 1992
To continue (aided by a day's worth study of the history of evil), the difficulty of evil in the face of infinite good requires the unbalancing of either fate or responsibility.  The Christians denied fate, deeming that man has free will only so far as he resists evil.  Due to original sin, man was powerless to create good -- his free will was only whether or not he chose God (indeed, if he could make the good, rather than just choose it, God would have become redundant -- remember Luther), and this is Christianity's sole redeeming factor.  Fate requires the abdication of will and the repudiation of desire, since only by resisting all machinations can one become free of inevitable evil.  In other words, virtue in the face of fate means the renunciation of fate -- and thereby action.  In this lies the other-worldliness of Buddhism (a strange advocation of Nietzsche's that requires further study).  The conflict inherent in Christianity (that of free will versus an omniscient deity) is the contradiction of any ethos that unites the finite and the infinite.  The co-existence of infinite power and secular evil requires that the blame be shifted to humanity, which is why Satan was only granted the power to tempt.  (Buddhism attempts to shift this responsibility to reality itself, but that is just hedging the issue, for why should infinite good create an evil reality?)  If the responsibility for chance evil is on man alone, then perfection is impossible, for man cannot reject man.  If the responsibility resides in reality, then perfection (i.e. Nirvana) is possible through the rejection of reality itself.  The existence of evil in the secular requires either the damning of man or the rejection of the secular -- both justifications are required for the existence of infinite good.  The lament of Job, that he can neither question God nor discover his reasons, stems from the further contradiction (inherent in the aforementioned one) of omniscience with judgment.  The “tests of love” so common in the Bible are the demands of a neurotically insecure God -- Satan taunts God that Job is virtuous because of his good fortune, so God allows him to curse Job to prove his love.  Yet surely God already knows the outcome, making both the curse and the judgment grossly redundant.  The dissolution of cause and effect inherent in the concept of infinite good renders judgments automatically retroactive -- not to mention that God must have created man in order to watch him sin, out of curiosity about evil.  The response that Adam created the possibility of sin is unsatisfactory, since God also created Adam (not to mention the serpent).  In many ways Satan is present in Eden in the form of God -- otherwise why would infinite good be concerned that his worshippers had discovered the difference between good and evil?  Surely only evil fears such knowledge.  His fear is that of the insecure parent as his children begin to reach the age of reason; the fear of independence, of rational evaluation.  Only the insecure parent fears wisdom; the good parent welcomes the transition from obedience to appreciation.  Satan's promise to Eve that she would become as God, i.e. gain the ability to judge, is precisely what God fears: the terror of independence inherent in any imposed paternalism.  Yet God could not lose, for Eve was seduced by her desire to become Him, not to achieve humanity.  One cannot beat God; there is no question of “winning”.  To walk away from such impotence is the only victory.

February 24, 1992
I'm beginning to see what that crafty bastard is up to.  The “will to power” is not one of domination; it is the will to accept the power of Man.  A man is not elevated by enslaving his inferiors; like the liar he becomes an appreciation only of the inadequate.  The ubermensch is the post-Christian man; Nietzsche was smart enough to recognize that such an apparition might be a long time coming.  “Beyond good and evil” is similar to the positivists; it means beyond heaven and hell.  His flaw is a step above the Romantics; they said discipline was deific and bourgeois while Nietzsche says discipline is the essence, the destruction of all illusions.  But he shared the Romantic pitfall of destroying hierarchy along with divinity.  The world is hard (something he partly ascribes to the influence of Christianity), therefore truth is hard.  Man must carve his justification from his will; existence precedes essence, but still the shift is the shift of morality from God to man, without the discipline imposed by the survival principle qua reality.  If morals exist, they must be derived from the principles of survival; they must be an extrapolation of the requirements of consciousness from the demands of reality and biology.  The only ethical certainty is that a dead man has no morals -- what allows him to survive is the root of a moral absolute; the starting-point of any moral system is the fundamental hierarchy of life over death.  From that hierarchy comes the demands of reason, self-esteem, individualism; the trinity of Ayn Rand.  Nietzsche's equation of cultural sense-aristocracy with truth requires the dismissal of the masses from the pursuit of truth; similar to Plato, he defines philosophy as a refinement of certain men, a sifting of the superior from the inferior.  It is ever the curse of learning to generate complexity for the sake of aristocracy, but for the moral principle to be valid it must be valid for all; else it must be enforced by totalitarianism or diluted in democracy.  The ubermensch is Nietzsche's desire for man to rise to an aristocratic philosophy, just as communism is the desire for philosophy to become democratic in the face of Christianity's history of self-destruction, which is to infuse it with the lowest common denominator, the anti-life, the average.  As is common with all opponents of Christianity, they take the moral stature of man as defined by the ecclesiastical and so say to hell with him, he is worthless -- but surely it is better to posit man free of religion before deciding his intrinsic worth.  If religion is an aberration, then Nietzsche is judging the prevalence of health in the terminal ward of a hospital.  For a doctor to say that man is unfit in the midst of a plague is a failure of conceptualization -- even if the sickness has lasted for two thousand years.  To change the habits of illness one must picture general health, only then can one provide men the means to health, which means to grant them the possibility of power, of virtue, of rationality.  Christianity attacks the mind -- is it freedom to attack men in general for their stupid-ity?  No, it is the act of the devil to curse man for his addiction to God.  It is simply another form of the addiction, like a reformed alcoholic who devotes himself to the drunken and so calls all men weak.  How much more productive to explain the power of abstinence than curse the exist-ence of drink -- if one truly wants to end the addiction, one must tackle the problem and ignore its manifestation, otherwise one grants the spotlight to the enemy.  (It may be so that by writing thus I fall prey to what I condemn, but that is because I am still pulling one foot from the hospital.  When I am in the fields, I will see only the fields.)

February 25, 1992
Just spent the day on 17th century economics, and broke out in a sweat as an idea hit me, an idea that ties many things in a unified whole.  The Satanic is as much an aspect of economics as it is of art and politics.  The unity of the world-views of Marxism and Christianity should have tipped me off, but the focus on the ethics rather than the myth-similarity blinded me to it.
The unsung heroes of history -- unsung because they were unrecognized even to themselves -- are the middlemen of the business world.  All the important shifts in demography so hated by entrenched privilege resulted from the need for this class to maximize profit regardless of tradition.  But even deeper, this very need is antithetical to the arch-conservatism which is the iron shadow cast by the unearned.  The possibility of a class with a motive for change only occurred with the rise of the secularization of profits in the 17th century.  The tally of Christianity, the accounting of sin was designed for the ledgers of the afterlife; the profit motive secularized is the business ethic of innovation and improvement.  The innovation of the pre-industrial 17th century was largely unimportant financially -- what it did represent was an ethic that challenged, not just critically, but existentially, the ethics of entrenchment (which, properly speaking, is not an ethic, but a preservation).  The response of the guilds was crucial -- they recognized the ethic long before the industrial revolution, and fought tooth and nail to preserve their hierarchy, the hierarchy of entrenchment.  What they could not fight, however, was the possibility of mobility; in all ages previous, the means of production had been static; i.e. land and privilege.  The essence of secular intelligence is its mobility; not just its innovation, but its location.  Taxes squeeze a peasant, he submits or rebels; taxes squeeze the merchant, he shifts his business.  This is the key to the rise of absolutism of the 17th century; the recognition of the state that economic growth was a hitherto-untapped resource which by its nature resisted its control -- and, furthermore, the more its was controlled, the less valuable it became (as France under Colbert discovered -- that is the source of the power of “laissez-faire” -- the only way to help us is to leave us be! -- utterly unprecedented!)  Controlling religion benefited both state and church; it reinforced the power of entrenchment crucial to both by advocating the same axioms of submission -- controlling business benefited neither.  This was the wedge that drove the state from the church -- the church could profit from the infighting by rejecting the secular; something neither state nor business could do.  But it was a struggle both state and church were doomed to lose -- the existence of the question of causality versus privilege damns entrenchment by implication.  It is fitting that despite the best efforts of state, guilds and church, the industrial revolution actually occurred.  In the evolution of ethics, the most consistent ethic will always win.  (The loss of the ethic of business in the 19th century is a chilling reminder of this -- the inability of capitalism to challenge entrenchment on moral grounds was the reason for the unexpected survival of religion and statism; that failure stemmed from the unconscious virtue of capitalism, its inability, like all failed revolutions, to delineate its morality qua its reason for existence, and so leaving no choice but to adopt the premises of its enemies).
The Satanic element is precisely this: Lucifer rebelled against a premise he could not defeat; he was not an atheist and never could be.  Business rebelled against the state, but never developed a secular, rational philosophy -- it was doomed for its failure to unify morality with identity.  Marxism completed the circle by identifying business with evil, marking it as production devoid of moral value -- which indeed it was.  Traditional capitalism embodies many of the premises associated with the Satanic -- it is secular, rebellious and man-centered.  It seeks satisfaction in this world, requires no reference to the divine, and requires rules derived from man's needs for survival qua reality.  But most importantly, it failed to provide its justification free from the negative taint of selfishness.  Is it any wonder that the association of God and the state lingered on until Marx used them to justify the salvation of man from his selfishness through the power of the state?  Is it any wonder that philosophers embarked on a futile campaign to justify the market through appeal to egalitarian utilitarianism?  But the market is the opposite of egalitarianism -- it derives its premises from reality, the reality that men are not created equal.  Capitalism is a meritocracy (to jumble concepts) -- the only meritocracy where the benefit of the highest is the improvement of the lowest.  It is anti-biological in the Darwinian sense; it creates near-unlimited resources and requires the satisfaction of others to prosper.  But until those others can be satisfied by more than a material vision, the consistency of evil will always surmount it.

February 26, 1992
That's it!  That's the hatred of Marx for Christ!  He hated the church because it wasn't efficient enough.  And he could only have written in the 19th century, the century of material progress.  Here are the ethics of self-sacrifice and living for others, crowed the socialists, how can we translate them into the real world? -- how can we turn the world into an altruistic factory?  Away with the delusions of the afterlife, away with the back-door of agnosticism -- let's do it here and now!  Communism is Christi-anity on fast-forward, taking the abstractions of God and judgment and making them manifest, in all their gun-pointing and flag-waving, in the power of the violent state.  What else could it have been but totalitarian?  Individualism is man's natural state, reason his natural choice -- the demand of superior sacrifice had to be enforced; within a free society communes are possible, but an island of freedom in the face of communism sets the stage for Berlin blockades and wired walls.  “We know better than you” is always the opening shot.
The danger of taking truth personally must be underlined.  How many times have I heard people say: who are you to buck the trends of two thousand years, who are you, a wet-eared undergraduate, to question the greatest thinkers of mankind?  But it is precisely this which must be avoided, repudiated, cut off at birth.  It is the question that drove Compte and Nietzsche to their delusions of grandeur -- the question of “who am I to do this?”  Schizophrenic egotism is always the result of minds untempered by reality, of questioners who take their ideas personally.  The flip side is the problem of contemporary historiography -- from concepts without reference, we have devolved to references without concepts.  There will be a thousand historians who say to me: there is this passage or that statistic which undermines your thesis.  But moral truth is not made by mathematics, reality not defined by its reporting; truth is reason, and reason is truth.  Winners write history, losers write ethics (and so the future), but it is not the position of power that defines moral validity.  There are enough minds castrated enough to waddle through the backwaters of plague locations and population blips; there is no need to add myself to their number.  There is no doubt that they will oppose me, but in the modern world, the presence of such opposition is a necess-ary (though not sufficient) criteria for truth.
But this begs the question -- what is history?  To use the oft-worn physician metaphor, it is the record of disease and health.  One does not find cures by reporting the minute progression of one patient's illness unless one is willing to extrapolate that to a negative criteria for health.  The solution of illness (and most history is illness) is knowing the criteria for health, which means knowing the structure and requirements of human life.  Metaphysically, historians are in the position of medieval doctors (or, worse, witch-doctors) examining the detached fingernail of a plague-ridden corpse and recording its size relative to its fellows.  To heal disease we must first understand health, which for historians means to understand man.  Only then can history serve its function of healing; only then can we point at the ideal trends of an age and its manifestations in law and conduct and say: this is good for man's life or this is not.  Man's life is dependent on his free exercise of reason; the degree to which a society allows this is the degree to which it is conducive to human life.  Those historians who deny the ultimate value of such life deny themselves the designation of healer -- but they cannot deny the criteria of healer, and so work to aid life with about the same success as the medieval doctor.

February 27, 1992  4am
There are some things morality cannot do, some things that are anathema to the advocation of the upright life (in both the ethical and biological sense).  What is the prime mover of morality in the modern world?  Sympathy, in a word, the concept of social work (as if life were a factory), the dangerous aftertaste of Freud.  The quest for knowledge is the thirst for truth; wisdom comes from the knowledge than man is not an ocean -- he cannot drink infinitely.  Truth is the establishment of criteria, and since man has a need for the absolute, the infinite, such criteria must admit of no exceptions and must be limited in order to be infinite.  First problem of all moral philosophers: evil must be condemned, but never too harshly.  It is a delicate balance -- condemn too savagely, and those in the position of sin will despair, and the flagellators of the soul will only reach for more.  Condemn too softly, and your morality will be seen as a pleasantness to be sometimes indulged.
Evil must be seen as absolute; anything less blunts the judgment and renders good an odd generality.  Evil must be clearly defined and infinitely condemned to save the good from the swamps of compromise, yet the source of evil, like all volitional decisions, must be left beyond question.  Evil resides primarily in actions; the difference between wrong and evil is that of thought and action.  If evil is a result of cause and effect, a Skinneristic response to social pressure and bad parenting, then good is moved by compassion to temper contempt with an over-reach of understanding.  The question of why a man chooses evil is the province of psychology; philosophy does no more than identify evil (metaphysics) and condemn its existence (ethics).  This is where the medical analogy breaks down -- in the fight against disease the question of contagion and the means of avoidance is crucial, yet the best it can do in many cases is lower the incidence, not cure the manifestation.  For the manifestation to be cured a far greater knowledge is required, knowledge that may be swamped in the search for causes.  There are some illnesses that simply occur, and like the man who searches for the psychological roots of every sneeze, the physician may take too much cause and effect as the primary cause, to the detriment of curing the effect.
This problem arises, of course, from the question that if the good were utterly beneficial, why would anyone choose evil?  Surely, say the moral physicians, such an obviously destructive state must arise from causes outside the individual, who if left to his own devices should invariably choose the good.  Leaving aside for the moment the problem that morality is usually seen as a bullying duty, the problem of why a man becomes evil must be encapsulated in the concept of the benefit of the good for it to be any use.  If men can be convinced, say, that lying is destructive because it requires the substitution of negative value of credu-lity for positive value of integrity (and the deadly consequences for the values of the liar), the response to the man who says he prefers such a state is for the philosopher simply outright condemnation.  The question of why a man would prefer such a state is irrelevant to the philosopher -- one may as well expect a physician to ask why a man would make himself ill as ask a philosopher to explain why a man would choose evil over good.
To return to the problem of destructive morality, the Christian/socialist ethic of self-sacrifice to the irrational is one reason why moralists have felt the defensive need to answer the question of the choice of evil.  Since a productive life can only be lived to the exclusion of such ethics, the response of collectivist moralists has been to damn mankind for his innate evil, because he refuses to submit to his own destruction on their terms.  Shorn of the power to amplify their systems through appeal to self-interest, they damned those who desired to live on this earth with original sin, bourgeois selfishness and any other epithet that saved them from having to examine their axioms and ask: why can free people not be convinced?  The limitation of moral value to the criteria of self-interest provides the axioms of infinite credibility; those that choose to live for themselves need only clarification, not convincing, and those that don't need only condemnation.  The moral essence of a human being can never be convinced; it can only be channeled and illuminated.  To run counter to the natural desire of man for secular joy requires the imposition of a non-human (and in many cases anti-human) standard of morality; and unlike rationalism, it is a net that catches only the worst fish, the fish that prefer the net and the certainty of being eaten to the challenge of freedom in the open sea.  And such men require no explanation.

February 27, 1992  2pm
Since the fall of God the question has been: how to get man up from the mud?  The idea of being “special” (which seems to occur only to the mediocre) was what we relied on throughout our bloody stroll through history -- and what we inflicted on those who questioned such unearned pride is agony to recall.  If racism is the desire for false self-esteem, religion was a form of racism of the species (“specism”) against itself.  We are the only beings who have defined ourselves as special by virtue of what we are not -- eternal, selfless etc.  But I suppose just as Southern gentlemen were forced to ivorize their women and dream of the fun blacks were having, we limited ourselves equally by opposing ourselves to our highest values.  Congruent with the desire for the unearned is a sick combination of envy and embarrassment, hatred and fear, and at the very bottom, a pathetic love for the reason that will destroy the illusion of specialness.  Isn't it true in all myths the fight the bad guy enjoys most is the one he will lose -- to the good guy?  Dostoevsky was right: being evil is to live in an unbearable state of suspense; that is why those who say they will die for their cause are so suspect -- all they are saying is that they find living for their cause unbearable.  Find a man willing to live for a cause, and you will have found a philosopher, and a man who has no desire for the ultimate unearned of martyrdom.
If mankind wants the kind of self-respect that makes for a livable life, he must first delineate exactly what it is he's supposed to respect, which means to discover the difference between himself and all other forms of life.  And what is this magical difference?  Surely it cannot be called reason, for even monkeys poke at bananas with poles.  We share over 99% of our genes with chimpanzees, and they have learned sign-language, so it cannot be genetic or communicative.  For the difference to encompass all the demands of law, philosophy and society it must be distinctly quantitative; a mere qualitative difference would never satisfy the justified vanity of man, or describe the differences visible to the average stroller in a city.
Ants practice agriculture; they bring certain manures into their hills and plant fungus within, taking the food to the queen upon maturation.  But the difference is in the word chosen, and I have chosen the wrong one.  Ants do not practice agriculture, they perform agriculture, not as a trick (for a trick is a deviation) nor as habit (for the habit is the pattern of past choice), but as behaviour independent of perceptual reality.  Take away the manure of fungus they use, and they are utterly at a loss; they cannot discover substitutes.  Man, however, can.  How?  What is the difference?  The difference lies in the nature of the information and how it is transmitted.  Biological information requires the passage of generations for transmission; it can never effect a qualitative change.  All varieties of life are variations on the theme of carbon-based life, reacting to changes in mutations and the environment it inhabits.  The essence of biological life is dependent on the environment, and independent of perceptual reality.  If a tool is present, it can be used, but it can never be created or transferred.  To return to the monkeys, they will use the pole if it is present and no other means to the fruit is possible, but they will never find alternatives in the face of plenty or the absence of poles.  Obviously, then, the power of mankind, the qualitative difference lies in his ability to conceptualize, which means his ability to derive information from information.  Conceptualization provides another reality to man, which is the possibilities of objective reality.  For example, take the word “concept” -- it means the identification of non-biological information independent of perceptual reality.  The easiest concept to identify in these terms (which does not mean it is the best concept) is the concept of “God”.  God is certainly non-biological information derived without reference to the senses, and this is one reason why, before the advent of rational philosophy, man united his sense of worth with his concept of the divine.  What would have been more accurate would have been to unite it with both his ability to conceive of the divine and his need to do so.  God was a stop-gap method to prevent the mind from emptying itself down a hole of bottomless ignorance; the problem was that as a certain group derived the benefits of ignorance it chained the rest in the kindergarten prison of institutional religion.  One tourniquets a wound in order to get to the hospital; religion tourniqued the wounds of ignorance in defiance of the hospital, it made the whole world a hospital and denied the possibility of health.  But all credit must go to Christianity for saving the possibility of concepts and raising man's mind from the mire (remembering that the early Britons, for instance, accepted Christianity because it gave a purpose to existence other than survival and brutality).  However, unless we being to realize that Christianity devoted itself to concepts and so ensured its own demise, we shall never be able to pull our vision of man's greatness out of the modern muck.  While concepts exist independent of the senses, those that derive their principles from the rationality of perceptual reality can achieve infinitely greater integrity by rejecting contradictions as impossible.  When we learn to thank religion and lay it to rest for a job well done and turn our faces to the bright light of reason (both within and without us), then we shall have truly sung the praises of God, as every child does by leaving its parents and finding his or her own path free of rules derived from the demands of ignorance.  In short: we pretended to know, but now we know better.

 

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After Stef's review of the dreadful "Authoritative Parenting" article, another piece printed on the toilet paper that is the New York Times may warrant his attention.

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https://www.nytimes.com/2024/09/15/opinion/parenting-helicopter-ignoring.html

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Part 3: My intellectual journal from 32 years ago...
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My philosophical writings from 1991...
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The good artist must always be ahead of his time; if he is not, then he must at least be the synthesizer of his time.  The oft-quoted phrase “the human condition”, or the ultimate rela­tionship between man and his ideals, is the most fertile ground for the artist at large.  The post-romantic ideal of the artist in opposition to his time has become an elephant's grave­yard; artists tend to oppose ideals, oppose man, (or both, which is society), but if he cannot provide a direction, if he is only the repudiation of direction, the linear nature of the bourgeois finds itself in a pointlessly geometric pattern, without sense, finding solace only in materialism.  Material­ism is society's blind retaliation against its guilt, and like all guilt it is tinged with hatred, hatred for the quasi-artists who reject all standards, and thus provide no direction.

For the artist to provide direction he must at once be nimble and lethargic.  The bourgeois has no concept of his movements; the world turns this way and that and he adapts without effort, without question, the perfect weathervane, the barometer of fad.  The artist must feel the buffeting of the world's direction; every turn is a weight against his soul; for the quasi-artist the irritation is one of being disturbed; the true artist is stirred to being an accomplice or revolutionary.  Previously such choices were possible; now we have only a sick squalling against motion or a plundering of the past, an archae­ology of direction without reference.  The great themes of life have been lost, or are being recycled, which is to say they were never found.  The lethargy of the artist is his sensitivity to undercurrents; his nimbleness is to taste the digestion in the recipe.  To lumber daily is the bourgeois, (and this has great value in saving society from too-great verbosity, or decadence); to fall forward to the conclusion of a direction is the nimble­ness of the artist.  In lethargy we find Romanticism, the heavi­ness of the innards, the strange weight of introspection, the expressionless pauses designed for those already in the know; in nimbleness we find the contradictions of opposites freed from the direction of synthesis, the chaos of roving perspective and a montage of images that strike but do not touch; involvement versus reaction, neither providing understanding.

The failure of the artist to come to terms with commerce, with capitalism, is the last legacy of the platonic Christ.  The failure of philosophy to derive the world-as-ought from the world-that-is, and the resulting art of idealistic rejection or mindless embrace, stems from the repugnance of both art and philosophy to reason.  Reason for the artist has devolved to the cause and effect of the plot (and precious little of that); as a result we have predictability in both theme and content.  As for the avant-guard, or those who still believe art has a purpose, the rejection of plot has perforce meant the rejection of values, of direction, and so we have the “alternative”, the enshrinement of indirection which is modernism.  Old values versus no values.  We have run the gamut of the irrational, in nature, in the feminine, in God, in the emotions; we have constantly tried to affirm the value of the incomprehensible.  This is still con­sidered daring, insofar as it rejects the “base” sensuality of the bourgeois.  Look at them, the modernists say, they do not know what life is, their happiness is an illusion (which is the spite of finding relief without art); artists know that materialism's power to provide comfort has displaced their monopoly of consolation, that the direction of consumerism and promotions has rendered the repudiating artist a marginal crea­ture, and lo and behold they recycle hackneyed Christianity, squeezing their overachievers through the eyes of heaven, giving them drugs and jail terms while their women mourn their solitude.

And the women!  It is no secret that actresses cry out for good roles unplundered from past art.  What do we have to give them?  The demystification of the feminine, the secularization of Ms. Mary has stripped the last bastion of masculine pomp from the empty shells of averted art.  They are equal!, cry the artists, so where are the mysteries for us to explore?  But the frontiers have closed, Freud and Marx have discredited the descent to truth, Jung has labeled myths as such, science has taken the terror from the unknown.  No longer can we point at the invisible and cry “see this and know!” -- the ruse is up, and the artists who believed such mummery are long gone.  Popular myths are old; in a changing world they have been left behind.  The bourgeois have an endless appetite for pretentious self-abuse, it's true, but such prodding in the face of capitalism is dawning on many as a profound waste of time and money.  Look how we are alienated, cry the artists, without thought to the role they have played in creating (or rather not creating) such a void.  Art can no longer claim to be a synthesis of opposites -- it has worked its egali­tarian muscles to the utmost to produce the flabbiness it now decries -- and without opposites there can be no pretense at outrage, no screams for understanding, no criticism of the bourgeois for missing the point that artists have refused to make.

But does this mean the end of art?  Certainly not.  What it does mean is the end of pretense, the end of false dichotomies, the end of God versus man, mind versus heart, bourgeois versus proletariat, man versus woman.  In the face of freedom men have chosen money -- there is no point condemning that unless one is prepared to condemn man himself (and original sin is far from original any more).  Men have chosen the artist's nemesis, and that has given them the freedom to snub the artist.  If art wants to rescue itself from banality, it must begin to accept the choices the world has made.  Materialism without reference, yes, fight it by all means.  But to attack it on the grounds of what it has already rejected is to misunder­stand its true purpose, which is an amoral (not immoral) desire to achieve happiness in this world.  If man unchained is man at the market, then the artist must seek to understand the drives of that choice.  It is no use wailing about the commercialization of art -- commercialization is only trivial because artists have not affirmed (and so directed) the world of bourgeois desires.  Oh, they are quite willing to use the products of secular ingenuity, the practicality of film, say, but they utterly reject the values that made it possible, leaving the power of the medium in the hands of advertisers and shoddy priests.  If artists want to be taken seriously, if they want to guide a world that finds them predictable or useless, they have to attack the roots of the guilt they have sown, they have to affirm the value of the choices of freedom, or they are condemned to go whining into obscurity condemning man, condemning freedom, condemning everything except the choices they made that made it so.  However, in order to avoid this pathetic winding-down, artists have to become philosophers themselves, and stop using the recycled trash of men ten generations dead and rejected by everything that overcame them.

 

2:10am February 17, 1992

Art as a world in itself is a peculiarly modern concept, born of the distancing from both god and earth, the state of mind of an infant cut from infinite legs and regarding its own naval as it endlessly falls.  The poem especially has fallen from grace with the world -- as Aristotle says, what is clearest to us is easiest in nature; poetry is the hardest form of communication, an argument from imagery, a sensual philosophy that requires deep knowledge of the organization of the mind and the world it inhabits.  In essence, the poet attempts to construct the impres­sions of the mind in life in a few lines -- he skims life above the waters, catching only the highest waves (in the case of an optimist), or below them, catching only the deepest troughs (in the case of a pessimist).  But it is the impact of air on water that provides the power of a poem -- in the before-mentioned difference between lethargy and nimbleness, the lethargic artist is he who inhabits the fathoms below sight; it is the pressure of his motion through unbroken water that provides his numbing depth -- the nimble artist records the buffeting of winds, a buffeting only achieved by his dizzying spins and dives.  The true artist inhabits the waves, streamlining the impact of mind and reality.

A poem is part of reality -- even if that is granted only insofar as it is recorded.  A poem is language, and language is shorthand perception.  Being derived from reality, it is common to all who posses senses, and the choice of images is thus necessarily a confession of primary importance (a poem is about something -- at the same time it is not about everything else).  Such a choice is derived either from a hierarchy of values or a rejection of all values.  A poet who sets out to write about nothing places that nothing as his highest value; what he really says is that values cannot be organized, that the most important fact is that there is nothing of importance.  This kind of anti-conceptual art is at the root of art-for-art's-sake, which is a patent lie masked as a misconception.  Art is never arbitrary; the artist choose what he writes about and the manner in which he expresses it, and art-for-art's-sake is a metaphor for art as a repudi­ation of art, just a behaviorism is a repudiation of psychology and mysticism a repudiation of philosophy.  The artist has a drive to create, he creates in order to convince, yet convincing requires an argument based on the relationship of value to non-value.  This is the essence, says the artist at the moment of creation, all else is secondary (or at best illusory).  When the artist posits illusion as the essence, he becomes an advertiser, the substituter of impression for affirmation.  Since modern philosophy has failed to provide the artist with criteria for judgment (and since artists tend at best to be communicators rather than innova­tors), art has dissolved into the rejection of importance, just as philos­ophy has dissolved into the rejection of values.  What Taylor calls the “horizons of significance” (which is reworking of the concept of objectiv­ity) have fallen away from art; it fails to communicate values to the general population who cannot live without them.  The symbol for this is the “suffering artist”, the “garret artist”, the man who rejects the values of his society without providing an alternative.  Artists were once revered as the priests of essence; their faculty for language (lamentably absent in most philosophers) was respected for providing the instant ends of choice -- much as the emotions do -- but now artists are rightly derided as a self-obsessed clique.  The constant artistic clamour for state funding stems from this confusion of values -- to demand that artists earn their living is to demand that artists organize their values in order to communicate essence.  But artists want to be “free” of all that -- because they are unprovided with criteria they demand a suspension of the cause and effect of production and consump­tion in order to be free to pursue their inevitab­ly-unrelated art.  Put them to work, and they will understand the values they must provide the general population whose respect they need to recapture.  Labour is value; to grasp this we must understand the humour of an accountant who demands state funding to crunch numbers.  Surely not, we say, since his vocation has value in and of itself.  Such it must be for art.  Until artists learn to trade meaning for value, they will remain little more than parasites.

But what of the poet, most complex and simple of man's communicators?  The poet is paradox; most essential in many ways, he provides both the means to action in specific situations and a plethora of rules generalized by their applicability and nullified by their contradictions.  Yet the paths he now provides few would pay for.  The contemporary poet is a far cry from Milton and Shakespeare; a beatnik assortment of skeletal misconceptions topped with myopic bitterness and spiritual irascibility, he is nine parts preten­sion to one part confusion -- and the confusion is his only saving grace.  Confusion is man's essence, he glowers over his cappuccino, puffing his overfiltered cigarettes and blinking in the light -- I don't know the answers but at least I have to courage to have given up looking (fortunate­ly for him, however, the coffee shop owner has not).  This is the most pitiful shadow of an artist, one is ashamed to call him artist; he is a default of decadence, this anti-being who masquerades in shoddy berets and recycled Sartre, fiercely underlining things that don't matter, scribbling to stave off the inevitable fact that he is only scribbling.  The oldest curse of mankind, the desire for the unearned, the after­image of Eden, leads these fools to believe that art is writing, that poetry is a shape on the page, that anyone who tries is worthy of it, they are like clumsy carvers who hack rancid meat and call themselves surgeons, believing that insecurity and somber clothing lend grace to incomprehensibility.  This is the legacy of Romanticism, the grubby corner bequeathed to poetry by the mystics of the innards.  If Branden is right, if emotions are instant evaluations of past thoughts and impressions, then the specter of unoriginality is Romanticism's only enduring legacy.  Man is interesting to the degree in which he thinks originally, not in how well he has digested the past.  Introspective poetry is the confession of the impotence of a life unlived, unexamined, inconclusive.  We are fed impressions by the world we live in; the psychic vomiting of preceded data is nothing more than a cry for singularity in the face of conformity -- and who is more conformist than the rejecter?  The road less traveled is more choked the more it is valued.  The true Romantic must reject Romanticism, he must discover essence unaided -- and certainty unhampered by inherited confusion.

The clue to man's essence must never be severed from his survival.  Our friend in the cafe damns the conditions which give him the leisure to damn; his freedom depends on the degree to which he himself is rejected by those who provide it.  The conditions which give rise to leisure, to the ornaments of survival, are open for any artist to discover; lamenting their presence reveals only self-hatred and a desire to escape the vice of cause and effect.  If artists are to be listened to, they must talk in the language which gives them scope to speak.  All art, all beauty, all truth is dependent on man's survival; man's survival and his ability to value depends on his reason.  Art proceeds from the same essence as survival -- it is dependent upon an excess of survival, it is what gives aim to life after a good meal is secured; it is also what makes a good meal worth securing.  Art, in other words, is a moral force; it extrapo­lates the requirements of survival beyond mere satisfaction to the active pursuit of beauty and truth.  It must never contra­dict that essential satisfaction, else it turns itself into a lie, into a force against life.  The Romantics fought the lie they lived, the life of the unearned; to continue that fight past its victory is to ensure its return, to abandon truth to life­style.  The power of commercialism arises from man’s need to define pleasure in the absence of art.  The world has changed; the artist who clings to ancient fights dooms himself to the periph­ery, and the world he lives in to shallow acquisitiveness and the demands of beauty free from value.  The artist must become the priest of the real, as far as the inexactness of the metaphor can take him.

---

There have been two political streams in Western thought; the politic of power and the politic of right.  The politic of power manifests itself as collectivism in politics, mysticism in philosophy and positivism in law.  The politics of power is essentially a conservative force; it requires veneration of tradition and invisibility in order to maintain existing power structures, to preserve, fundamentally, the perpetuation of the unearned.  It requires that man be defined as an end to others.  The politics of right requires veneration of the individual and reason, the perpetuation of the earned.  It requires the defini­tion of man as an end in himself.  There is little need to wonder at the decline of the great civilizations; the only wonder is that they ascended at all.  The story runs that Cato the Elder, on visiting Carthage, was so incensed at the energy and vivacity of that teeming merchant city, that he began proclaim­ing at the end of every speech: “Carthage must be destroyed!”.  There was little military threat from Carthage -- what Cato understood was that its existence manifested a profound threat to the politics of power in ancient Rome.  Trade precludes stagnation -- a simple glance at the appearance and disappearance of Fortune 500 com­panies in the twentieth century is enough to illustrate this.  Trade requires the constant proof of superiority, it attacks entrenchment and blindly rewards competence alone.  It is pro­foundly asexual, unracist, and in its purest form discriminates against none.  The only way that mediocrity can survive in trade is by application of the politics of power, by state grants, quotas, tariffs etc.  As the power of the state grows, the politics of power begin to displace the politics of right, for the state realizes that fluxes in the marketplace undermine its own oligarchical ambitions, not by association, but by implica­tion.  The control of trade always precedes the control of rights for two reasons; firstly, it shifts business to the submissive mercy of arbitrary legislation, and secondly it causes distor­tions in the market that require further controls.  For instance, high taxes within Canada shift purchases to the States, prompting cries for a “crackdown” on cross-border shopping.  However, the originator of such legislation is the substitution of democratic aesthetics for objective morals.  This company is becoming “too big”, they must be trust-busted, that person is becoming “too rich”, they must be taxed further, those foreigners are “too success­ful”, they must be barred from trading with us.  Any significant deviation from the democratic mean, be it rich or poor, successful or unsuccessful, creates anxiety in the general population, for it undermines the both ill-defined concept of the equality of man and the political egalitarianism perceived to be at the root of universal suffrage.  In the nineteenth century, a powerful argument against universal suffrage was that if each man's vote was equal, the poor would vote to take the property of the rich, overwhelming them by sheer numbers (a fear prompted by a genuinely aristo­cratic concern that the able would eventually question the perpetuation of the unearned).  The twentieth century has proved the wisdom of this fear; the shame of it has been that the poor have plundered indiscriminately, taking from the productive as nimbly as the parasitical.  A democracy uncer­tainly founded on the politics of right quickly dissolves into the politics of power, fragmenting into pressure groups and a civilized state of civil war, each faction tearing at the wealth it perceives as common without regard to the conditions that produced that wealth, vultures ignorant of basic biology and their position in the hierarchy of reality.  The presence of a well-laid table, moreover, tends to pull the jackals obsessed with eating to the feast.  Power does not corrupt; rather, the existence of power draws corruption to its heights.  Stalin was not a good man before winning control; he won control because he was evil -- in fact, he was interested in the fight only because he was evil.  Posit instead a system where leadership is a chore with few rewards, where the politics of right preclude the feast of power -- what man will be drawn to it?  A man who -- gasp! -- sincerely wishes to do the right thing?  Politics is the art of destruction; it should be the laziest art.  Energetic politics means energetic demolition; it is no accident that LBJ followed JFK, and in turn was followed by Nixon.

The truth of history, how little depends on rational under­standing and how much on conviction, was never learned by the advocates of reason.  Dry reason, detached observation and wry comments have never won the hearts and souls of men.  This is the clue to the dejection and bitterness of the genius -- he speaks in a language only he can understand; he knows the truth and then bastardizes it with technicalities.  The technicalities are important, but they only speak to intellectuals, or the parasites of genius.  The American term “highbrow” serves to illustrate the con­tempt of the common man for those who aristocratize truth through specializ­ation.  Nietzsche knew this in his soul -- Zarathustra is the record of a man trying to squeeze rational observations into a biblical presentation.  The most profound book, he said, yes -- but pro­found in the language of the unprofound, in the language of conviction trivialized by repeti­tion.  Christianity is anti-life, he said -- all right, granted, but then why proclaim a rational ideal in the style of Eastern mysticism?  Nietzsche's unfortunate addiction to Buddhism stems from his belief that it proclaimed a life-force in a form access­ible to the masses, and so he attempted to cloak his rational purposes in mysticism.  (The other-worldliness of Ayn Rand is a similar misapplication.)  Torn in the contradiction of every moral philosopher who accepts Christian ethics a priori, Nietzsche refused to see that the ethics he advocated stemmed from the same irrationality as Christianity, the application of invisible reality (in his case, the will) to the question of virtue -- it is the same for Rand; her invisible reality was reason, and so more complex.  Spiritual mysticism is by no means qualitative­ly differ­ent from secular mysticism.  The temptation of Christ on the mountain, the offering of the world by the god of this world, the tempta­tion of secular power, is a lure that Nietzsche succumbed to utterly.  Own the world, he says, own this sprawling pile of shit, because it is all we own, and we must own something.  All value, all beauty, all truth, was consigned to the void along with God -- away with the irrational unseen, and so away with morality, away with beauty, away with the conquest of nature.  The joy of conquest, the fierce­ness of the acolytes of Attila, all the bloodthirsty savagery of bread and circuses, all of it stems from the belief that there is no value but the here and now, there is nothing higher to strive for, there is only Darwin and survival.  Worship, the flip-side of sacrifice, becomes the goal; the goal of sacrifice remains unquestioned, only the value of the players is reversed.  Nietzsche did not hate the Church, he envied it.  He envied its power, its control, its unquestioned authority.  This is the aspect, the final temptation of Satan -- not to reject God, but to transcend Him; Nietzsche was no more an atheist than the devil was.  Both of them recognized the power of God, both of them chafed under the restrictions inherent in his existence -- and both desired his position.  The superman is the man to whom the collection of unconditional sacrifice is an inherent right, a right enforced by secular power.  Nietzsche despised the suprem­acy of the imma­terial, he viewed it as emascu­lating and a triumph of death over life, the only means for the weak to dominate the strong -- in its place he substituted the triumph of will over life, of strength over weakness, of force over morality.  And what better prescrip­tion for madness?  A man wracked by physical ailments (Milton's “Everywhere I fly is hell... I am myself hell”) trumpeting the power of the world, a man impotent in his personal life obsessed with the power of using others.  Such utter contra­dictions!  Witness Satan, caught in a point­less battle against a being whose word is law, a being who knew in advance of his rebellion, an all-power­ful, omniscient foe whose invincibility precluded successful revolt.  Lucifer knew he could not win, knew he could not disbe­lieve, and so spent eternity in a futile battle, a la Camus' myth of Sisyphus.  Nietzsche also knew he could not win, could not disbelieve, and so raged against the church using its very weapons -- mysticism, secular power, emotionalism.  Only a rational, passionate reappraisal, a system of ethics with man as the root, a morality which precludes the existence of God, a world-view that bypasses divinity, that ignores infinity -- only this can win against the infi­nite.  Only the triumph of the rational absolute can destroy the irrational infinite.  In this lies the understanding of every failed revolution, revolutions that failed because they envied the premises of their prede­cessors.  The substitution of secular irrationality for divine irrational­ity only moves the evil closer to home -- and removes the possibility of resistance from compet­ing aims.  In the first instance, the socialists vote for the communists (Germany, 1933), religion advocates socialism (Victor­ian England), the aristocracy enshrines both (social reforms during the industrial revolution).  There is a unity of goals -- the destruction of reason -- which when achieved leaves both jackals glaring at each other over the corpse of their victim.  The precarious balancing of these two compet­ing forces creates an unstable mixture of explosive destruction, subject only to the limiting power of their contend­ing entrenchment.  But the true battle is not against religion, or fascism, or socialism, but against irrationality, against ethics that derive from the premise of the unseen.  Nietzsche fell in that battle because he desired the unearned as much as Lucifer, and failed in his rebellion because he refused to bypass the God he feared so horribly...

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