Why Nazi Art Is Not Enough:
Mimereader
Since World War 2, it has often been taken for granted in White Nationalist
politics that there wouldn't be much accommodation made for abstract art
traditions in any future cultural revival. And it should also be taken note of,
how no such cultural revival on behalf of the purely realistic garnered much
support either.
The error of this prejudice about the abstract is easy to overlook wherever
White nationalist politics is dominated by Anglo Saxon American social tastes,
or even the German NS influences offered later by cultists. And so any interest
in - or claim to - some of the leading abstract art movements in European
history was simply abandoned, where eventually they became ignorantly credited
to the intellectual portfolios of our opponents.
Little or nothing was said in most American nationalist publications about the
relationship of the Futurist art movement to Italian fascism, or of Vorticism
to British fascism, or the cousin to both in Russia, Constructivism; especially
when the latter became more distanced from Futurism and fascism and was
hijacked by Marxist propagandists.
Additionally, as many artists have now abandoned the limitations of older art
traditions and mediums anyway, to take up the enormous potential of computer
graphics, where anything can be routinely synthesized, it is wiser to emphasize
the freedom and value of White nationalist artists over any tight definition of
social responsibilities, limitations, or cultural heritage
My own more Anglo Saxon taste might dictate that the traditional and realistic
should dominate what is abstract, but none of us should dismiss these
influences as being inconsequential. The creative currents of Europe's and
America's past are part of that bigger view of our cultural tradition, and
expressing some respect for them will make it a lot easier to gather up the
many Whites who have any amount of ethnic self-esteem invested in them.
There's even an appropriate quote from the mythologist Joseph Campbell for the
benefit of those who mistakenly believe, out of their own Nazi cultism, that
White Americans of various stocks might someday adhere uniformly to German
realism.
Nietzsche's The Birth of Tragedy points out that the two principles in art are,
respectively, the Dionysian and the Apollonian. Dionysius represents dynamism
which brings things into form and then shatters them. Apollo represents the
illuminated mind giving form to this process. Ref: 'Virtual Reality' by Howard
Rheingold 1991 pg. 302
The National Socialist regime actually employed many abstract designs, with
especially fine examples in their advertising. Then what of the controversy?
That is actually best revealed by what Hitler repeated at the opening of the
House of German Art in Munich in 1937:
"To be German is to be clear," and that means that to be German is to be
logical and true. It is this spirit which has always lived in our people, which
has inspired painters, sculptors, architects, thinkers, poets, and above all
our musicians. Ref: Nazi Culture by George Mosse pg. 13
In other words, this is an interpretation of how people naturally communicate
in the German culture, and those who turn away from it may simply have
preferred the indirect diplomacy of the French, or something more unpredictably
Italian.
A Pioneer Little Europe is for all White Americans, and can't afford to cater
too narrowly to this or that European nation's art history or pride. And while
some nations do possess a stronger taste for what is realistic, natural, and
orderly, the PLE must also reintroduce our people to the abstract art movements
of various European nations that others still appreciate.
By striking some balance or compromise in this matter, we will be better
prepared to transfer the public's fascination for such interests into the PLE's
own cultural goals. And it's from there, in the vessel that is Pioneer Little
Europe, that the past examples will help spur our own cultural revival. How our
people will tackle the creative challenges of our own times is still yet to be
seen, but we cannot afford to ignore the tangled inheritance where that journey
begins.
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A PLE is defined as the conscious White community - initially possessing
greatly contrasting views among its residents - which comes to dominate a
geographical area.
It is an entity which our opponents and competitors have made no provision to
account for within the "legal process," thus it has even less reality to them
than the old White community. As such a PLE is in itself immune from all forms
of legal liability, without making a mockery of the law.
That is not to declare that a PLE is immune from repression, only that there is
nothing in the law to prevent it from coming into being, eventually evolving
into higher levels of legal recognition, and striving for the self
determination of its residents by any means conscious Whites will support.
A Pioneer/Little Europe is a generic term for any local community where Whites
live in close proximity to businesses which offer cultural facilities and
services, most of whom openly support their political revival.
More advanced than the old Little Europes and White communities, Pioneer Little
Europes are based on a study of the organizing principles shared among the more
modern political communities that continue to dismember Whites geographically,
culturally, and politically.
Visit a supporting web site to print out a free copy of the entire PLE
prospectus, and use the "Advance Scout" forum at Stormfront to either announce
your own interest in local community building or to find others who already
believe it's the wave of the future.
http://www.euroknowledge.net/ple.phtml
Click Here: EuroKnowledge Articles - Pioneer Little Europe …
http://www.stormfront.org/forum/forumdisplay.php?s=&forumid=65
Click Here: Stormfront White Nationalist Community - Advance Scout
http://www.whitealliance.org/underground/
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