The Left Is Now Almost Totally Marxist
Bernard Pyron
http://batr.org/reactionary/052712.html
"Liberals don’t believe there is such a thing as “fact” or “truth.”
Everything is a struggle for power between rival doctrines." - Ann Coulter
A "liberal" is a Leftist, and the Left in 2016-2018 is almost totally Marxist. There was a time when the Left included some who were followers of the Art Bohemian movement. The Art Bohemians were anti-Christian. In the book, The Great Rebellion, 1985, there is said metaphorically to be a platform in the middle of a swamp, which was built to keep people from falling into the dirty water. But for many years the art bohemians were going out every night to tear pieces out of that platform. They took it apart piece by piece, and by about 1973 the platform was gone and nothing kept people from falling into the dirty waters of the swamp. The art bohemians were helping to tear down Christian morality. Their Daddy was not Marx, but Rousseau, who wanted freedom from any restraint, including Christianity.
Sometime after the French Revolution, there were bohemian in-groups formed around celebrity artists like Monet. Later, in the early 20th century the Surrealists were also art bohemians and by this time, in the early twenties, the Surrealists had Freud as their ideological Daddy, who turned them on to dreams and they had been into sex. without much restraint some decades earlier in the 19th century.. Andre Breton, their poet leader, proclaimed that "No rules exist, and examples are simply life-savers answering the appeals of rules making vain attempts to exist.'' He also said that "Beauty will be convulsive or will not be at all.'' Surrealism was about breaking all artistic and social conventions, and including breaking sex conventions. Breton and many Surrealists were interested in the subconscious, dreams, love, eroticism and sex and less interested in creating a new type of painting or sculpture. Painting and sculpture - and literature - were used to explore their interests in the topics listed above.
The art bohemians migrated to New York City and San Francisco in the forties after World War II and were part of the Abstract Expressionist movement. The beat poets had a similar mindset, which had some influence on the early Hippies.
There was even some small amount of influence from the art bohemians on Frank Lloyd Wright. which caused the more conventional Wisconsin people to reject him and his work, while he was still alive.
The art bohemians were not collectivists, and in fact many of their members were unique individuals like Wright. But the Left now, as totally Marxist, is bent on making America a collectivist society and has collectivised to some extent portions of the younger generations, especially the current batch of university students.
I had a friend in the late sixties and early seventies, Bob Watt, (1925-2012) who was part of the scene when the art bohemians and Beats were going on. But Bob Watt lived in Milwaukee and hung out also in Madison - in Wisconsin. He did not live in the art bohemian communities of New York City or San Francisco.
"There was nobody like him," said Bob Reitman, the Milwaukee broadcaster who was once the poetry editor of Kaleidoscope and the organizer of the Avante Garde poetry readings. "Of all the people I know, there was nobody who lived in that universe except Bob Watt."
See: http://onmilwaukee.com/myOMC/authors/mollysnyder/bobwattdies.html
"I had only been a student at the University of Wisconsin-Milwaukee for a few weeks when I was approached by a portly, grey-haired man with black-rimmed glasses and a brimmed hat......Little did I know, at the time, that man was Bob Watt, a local icon, poet and painter – perhaps Milwaukee's original Beat – and someone I would come in contact with again and again for the next 20 years of my life."
In Abstract Expressionism. the idea was to create a painting without much planning, so that, supposedly, the work was a spontaneous expression of a moment. This idea works in ceramics. And in fact, Peter Voulkos was a potter who became an Abstract Expressionist ceramic sculptor. My friend Clayton Bailey got some ideas and inspiration from Voulkos Peter Voulkos did a workshop in the pottery studio of the University of Wisconsin in 1962 and there was a party at our house in Madison, with Peter who played a guitar.
See: http://www.claytonbailey.com/chronology.htm
" 1960- Inspired by the abstract expressionist work of Peter Voulkos, he (Clayton Bailey) begins to make ripped and torn ceramic forms, and begins a series of unique "pinch pots ". He meets Alex Jordan, builder of the "House on the Rock". Jordan gives him his first ceramic show at the House on the Rock in Dodgeville, Wisconsin."
"2011-Artist's 50 Year Retrospctive Exhibition: "Clayton Bailey's World of Wonders" , at the Crocker Art Museum in Sacramento, CA (Catalog)"
"2013- The Bailey Art Museum is established in Crockett, CA, showing the ceramic and metal work of Clayton G. Bailey, and the drawings of Betty Bailey. May 4, 2013."
Clayton Bailey could throw pots on the potter's wheel. But he made most of his ceramic sculptures using clay rolled out as slabs and formed by hand. His work was not as abstract or as concerned with form as that of Peter Volukos, and Bailey's clay sculpture was planned to some extent before he created it.
And both the Beat poets and the Abstract Expressionist painters, and sculptors had an influence on the early counterculture. I remember an article in the Daily Cardinal written by one of the University of Wisconsin campus New Left leaders in about 1968 in which he claimed that the New Left was merging with the Hippie and Drug movements.
"A
conservative Humanism is no better than a liberal Humanism. It's the
Humanism that is wrong, not merely the coloration." From the Great
Evangelical Disaster, 1984, Francis Schaeffer's last book.
Marxism is a form of extreme humanism, which could not arise without an earlier less extreme kind of humanism. By humanism is meant a cuture which is not Christian
.
Transformational Marxism was let in the American door in 1950 with the publication of the book, The Authoritarian Personality, by Theodor W. Adorno of the German Frankfurt School. Adorno posed as a personality and social psychologist and claimed that Christianity and the family cause fascism and both must be done away with. Of course, Transformational Marxism also set out to do away with absolute truth, fact and morality, and replace it by the dialectic of dialogue, opinion, or attitudes,"what do you think?" "What do you feel," and always has a facilitator of the Marxist dialectic running any dialogue. Politicians were easy to win over to Transformational Marxism, because prior to 1950 they as humanists (mostly) were already operating without much regard for truth, fact or morality.
Bernard Pyron
http://batr.org/reactionary/052712.html
"Liberals don’t believe there is such a thing as “fact” or “truth.”
Everything is a struggle for power between rival doctrines." - Ann Coulter
A "liberal" is a Leftist, and the Left in 2016-2018 is almost totally Marxist. There was a time when the Left included some who were followers of the Art Bohemian movement. The Art Bohemians were anti-Christian. In the book, The Great Rebellion, 1985, there is said metaphorically to be a platform in the middle of a swamp, which was built to keep people from falling into the dirty water. But for many years the art bohemians were going out every night to tear pieces out of that platform. They took it apart piece by piece, and by about 1973 the platform was gone and nothing kept people from falling into the dirty waters of the swamp. The art bohemians were helping to tear down Christian morality. Their Daddy was not Marx, but Rousseau, who wanted freedom from any restraint, including Christianity.
Sometime after the French Revolution, there were bohemian in-groups formed around celebrity artists like Monet. Later, in the early 20th century the Surrealists were also art bohemians and by this time, in the early twenties, the Surrealists had Freud as their ideological Daddy, who turned them on to dreams and they had been into sex. without much restraint some decades earlier in the 19th century.. Andre Breton, their poet leader, proclaimed that "No rules exist, and examples are simply life-savers answering the appeals of rules making vain attempts to exist.'' He also said that "Beauty will be convulsive or will not be at all.'' Surrealism was about breaking all artistic and social conventions, and including breaking sex conventions. Breton and many Surrealists were interested in the subconscious, dreams, love, eroticism and sex and less interested in creating a new type of painting or sculpture. Painting and sculpture - and literature - were used to explore their interests in the topics listed above.
The art bohemians migrated to New York City and San Francisco in the forties after World War II and were part of the Abstract Expressionist movement. The beat poets had a similar mindset, which had some influence on the early Hippies.
There was even some small amount of influence from the art bohemians on Frank Lloyd Wright. which caused the more conventional Wisconsin people to reject him and his work, while he was still alive.
The art bohemians were not collectivists, and in fact many of their members were unique individuals like Wright. But the Left now, as totally Marxist, is bent on making America a collectivist society and has collectivised to some extent portions of the younger generations, especially the current batch of university students.
I had a friend in the late sixties and early seventies, Bob Watt, (1925-2012) who was part of the scene when the art bohemians and Beats were going on. But Bob Watt lived in Milwaukee and hung out also in Madison - in Wisconsin. He did not live in the art bohemian communities of New York City or San Francisco.
"There was nobody like him," said Bob Reitman, the Milwaukee broadcaster who was once the poetry editor of Kaleidoscope and the organizer of the Avante Garde poetry readings. "Of all the people I know, there was nobody who lived in that universe except Bob Watt."
See: http://onmilwaukee.com/myOMC/authors/mollysnyder/bobwattdies.html
"I had only been a student at the University of Wisconsin-Milwaukee for a few weeks when I was approached by a portly, grey-haired man with black-rimmed glasses and a brimmed hat......Little did I know, at the time, that man was Bob Watt, a local icon, poet and painter – perhaps Milwaukee's original Beat – and someone I would come in contact with again and again for the next 20 years of my life."
In Abstract Expressionism. the idea was to create a painting without much planning, so that, supposedly, the work was a spontaneous expression of a moment. This idea works in ceramics. And in fact, Peter Voulkos was a potter who became an Abstract Expressionist ceramic sculptor. My friend Clayton Bailey got some ideas and inspiration from Voulkos Peter Voulkos did a workshop in the pottery studio of the University of Wisconsin in 1962 and there was a party at our house in Madison, with Peter who played a guitar.
See: http://www.claytonbailey.com/chronology.htm
" 1960- Inspired by the abstract expressionist work of Peter Voulkos, he (Clayton Bailey) begins to make ripped and torn ceramic forms, and begins a series of unique "pinch pots ". He meets Alex Jordan, builder of the "House on the Rock". Jordan gives him his first ceramic show at the House on the Rock in Dodgeville, Wisconsin."
"2011-Artist's 50 Year Retrospctive Exhibition: "Clayton Bailey's World of Wonders" , at the Crocker Art Museum in Sacramento, CA (Catalog)"
"2013- The Bailey Art Museum is established in Crockett, CA, showing the ceramic and metal work of Clayton G. Bailey, and the drawings of Betty Bailey. May 4, 2013."
Clayton Bailey could throw pots on the potter's wheel. But he made most of his ceramic sculptures using clay rolled out as slabs and formed by hand. His work was not as abstract or as concerned with form as that of Peter Volukos, and Bailey's clay sculpture was planned to some extent before he created it.
And both the Beat poets and the Abstract Expressionist painters, and sculptors had an influence on the early counterculture. I remember an article in the Daily Cardinal written by one of the University of Wisconsin campus New Left leaders in about 1968 in which he claimed that the New Left was merging with the Hippie and Drug movements.
The Art Bohemian movement did not have one founder like Marx, although Jean-Jacques
Rousseau (1712-1778) was its philosophical Daddy, who wanted freedom
from all restraint from the family, society or Christianity. Freud, of
course, had something to do with the lack of sexual restraint of the Art
Bohemians in the 20th century, but they go back into the 19th
century..The sexual interest of the Art Bohemians also owes something to
the old tradition of artists panting or sculpting from nude women
models. Even some of the early Protestant painters in the Netherlands
did nude paintings and drawings from live nude models. University art
departments continue the tradition of teaching drawing from nude models,
often women, but sometimes males.
Sex
was a big part of the art bohemian movement, which appealed to the
Hippies who arrived in public perception in about 1964-65. Sex
liberaton was not a consistent part of Marxism, though in 1919, Georg
Lukacs in Hungary tried to set up a program for free sex, which was
immediately rejected by the people.
Transformational Marxism uses feminism, homosexality, lesbianism, and
bisexuality to destroy the American family and not necessarilhy to
promote sexuality,. Since homosexuality is against Christiam morality,
Transformational Marxism has to be seen as a more extreme form of
humanism.
Marxism is a form of extreme humanism, which could not arise without an earlier less extreme kind of humanism. By humanism is meant a cuture which is not Christian
.
Transformational Marxism was let in the American door in 1950 with the publication of the book, The Authoritarian Personality, by Theodor W. Adorno of the German Frankfurt School. Adorno posed as a personality and social psychologist and claimed that Christianity and the family cause fascism and both must be done away with. Of course, Transformational Marxism also set out to do away with absolute truth, fact and morality, and replace it by the dialectic of dialogue, opinion, or attitudes,"what do you think?" "What do you feel," and always has a facilitator of the Marxist dialectic running any dialogue. Politicians were easy to win over to Transformational Marxism, because prior to 1950 they as humanists (mostly) were already operating without much regard for truth, fact or morality.
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