Cultural Marxism, Modern Art and Hipsterism

It is a frequently misunderstood notion that “modern” and “abstract” art was an organic development that arose from grassroots battles against “oppression” and the “folk art” of the lower classes. In fact, ugly, degenerate art arose from Soviet and communist circles as a means to attack aesthetic beauty. I often remark that “Bauhaus” architecture is communist to the surprise of listeners, but the facts are, “modern art” is almost wholly a communist and Soviet invention of weaponized culture.

To understand this, one must look at the Frankfurt School of Marxism, tasked primarily with social engineering and destroying culture. Weaponized culture was a key tool for destroying the West’s social values and social structure. This is also true of the modern transformations of “art” into its own internal nihilist critique of meaning itself, with hipsterism. Hipsterism could accurately be called the full blossoming of Theodore Adorno’s critical theory, particularly in terms of music. Adorno writes:

What radical music perceives is the untransfigured suffering of man…. The seismographic registration of traumatic shock becomes, at the same time, the technical structural law of music. It forbids continuity and development. Musical language is polarized according to its extreme; towards gestures of shock resembling bodily convulsions on the one hand, and on the other towards a crystalline standstill of a human being whom anxiety causes to freeze in her tracks…. Modern music sees absolute oblivion as its goal. It is the surviving message of despair from the shipwrecked.”

So modern music is geared towards the breakdown of order, beauty, form and meaning, waging a war on all the elements with the intent of disorienting man’s psyche and breaking down his worldview.  In fact Adorno describes it as an attempt at actually causing mania:

It is not that schizophrenia is directly expressed therein; but the music imprints upon itself an attitude similar to that of the mentally ill. The individual brings about his own disintegration…. He imagines the fulfillment of the promise through magic, but nonetheless within the realm of immediate actuality…. Its concern is to dominate schizophrenic traits through the aesthetic consciousness. In so doing, it would hope to vindicate insanity as true health.”

Analysts Meyer and Steinberg comment: Adorno itemized these: 1. depersonalization, the loss of connection to one’s own body; 2. hebephrenia, which he defined as “the indifference of the sick individual towards the external”; 3. catatonia (“a similar behavior is familiar in patients who have been overwhelmed by shock”); and 4. necrophilia. Adorno declared, “Universal necrophilia is the last perversity of style.”

Adorno had been “recruited” if you will by the West, to wage war through cultural Marxism on a global scale.  Meyer and Steinberg comment:

A promising future concert pianist in his youth, he had later studied in Vienna  under the atonal composer Arnold Schoenberg. In 1946, while in the United  States, working on the Frankfurt School’s “Cultural Pessimism” agenda, the former Soviet Comintern (Communist International) asset, now living on the largesse of the Rockefeller Foundations and other Anglo-American fondi, wrote an infamous book, The Philosophy of Modern Music, a barely intelligible diatribe against Classical culture.”

Read more at:
http://jaysanalysis.com/2013/01/16/cultural-marxism-modern-art-and-hipsterism/