Adorno: The Death Of Love In Fascism

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Heathen by Jonathan Barnbrook

 

 

 

 “It is one of the basic tenets of fascist leadership to keep primary libidinal energy on an unconscious level so as to divert its manifestations in a way suitable to political ends. The less an objective idea such as religious salvation plays a role in mass formation, and the more mass manipulation becomes the sole aim, the more thoroughly uninhibited love has to be repressed and moulded into obedience. There is too little in the content of fascist ideology that could be loved.”
-Theodor Adorno, Freudian Theory and the Pattern of Fascist Propaganda

Reich: Ideology and Psychology

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Tempo der Strasse by George Grosz, 1918

“The ideology of every social formation has the function not only of reflecting the economic process of this society, but also and more significantly of embedding this economic process in the psychic structure of the people who make up the society. Man is subject to the conditions of his existence in a twofold way: directly through the immediate influence of his economic and social position, and indirectly by the ideological structure of the society. His psychic structure, in other words, is forced to develop a contradiction corresponding to the contradiction between the influence exercised by his material position and the influence exercised by the ideological structure of society. The worker, for instance, is subject to the influence of his work situation as well as to that of the general ideology of society. Since man, however, regardless of class, is not only the object of these influences, but also reproduces them in his activities, his thinking and acting must be just as contradictory as the society from which they derive. But, inasmuch as a social ideology changes man’s psychic structure, it has not only reproduced itself in man but, what is more significant, has become an active force, a material power in man, who in turn has become concretely changed, and, as a consequence thereof, acts in a different and contradictory fashion. It is in this way and only in this way that the repercussions of a society’s ideology on the economic basis from which it derives is possible. The “repercussion” loses its apparent metaphysical and psychologistic character when it can be comprehended as the functioning of the character structure of socially active man. As such, it is the object of natural scientific investigations of the character. Thus, the statement that the “ideology” changes at a slower pace than the economic basis is invested with a definite cogency. The  basic traits of the character structures corresponding to a definite historical situation are formed in early childhood, and are far more conservative than the forces of technical production. It results from this that, as time goes on, the psychic structures lag behind the rapid changes of the social conditions from which they derived, and later come into conflict with new forms of life. This is the basic trait of so-called tradition, i.e., of the contradiction between the old and the new social situation. ”

Wilhelm Reich, The Mass Psychology of Fascism

Marcuse: Technical Progress Within The Framework Of Domination

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Twilight Hi-Rise by Han Bing

 

 

“In the medium of technology, culture, politics, and the economy merge into an omnipresent system which swallows up or repulses all alternatives. The productivity and growth potential of this system stabilize the society and contain technical progress within the framework of domination. Technological rationality has become political rationality.”

-Herbert Marcuse, Eros and Civilization

Nietzsche: The Slow Arrow Of Beauty

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Accent in Pink By Wassily Kandinsky

 

 

 

 

“The slow arrow of beauty. The most noble kind of beauty is that which does not carry us away suddenly, whose attacks are not violent or intoxicating (this kind easily awakens disgust), but rather the kind of beauty which infiltrates slowly, which we carry along with us almost unnoticed, and meet up with again in dreams; finally, after it has for a long time lain modestly in our heart, it takes complete possession of us, filling our eyes with tears, our hearts with longing. What do we long for when we see beauty? To be beautiful. We think much happiness must be connected with it. But that is an error.”

 

-Friedrich Nietzsche, Human, All Too Human: A Book for Free Spirits

John Berger: Your Bones And Mine

 

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“What reconciles me to my own death more than anything else is the image of a place: a place where your bones and mine are buried, thrown, uncovered, together. They are strewn there pell-mell. One of your ribs leans against my skull. A metacarpal of my left hand lies inside your pelvis. (Against my broken ribs your breast like a flower.) The hundred bones of our feet are scattered like gravel. It is strange that this image of our proximity, concerning as it does mere phosphate of calcium, should bestow a sense of peace. Yet it does. With you I can imagine a place where to be phosphate of calcium is enough.”

 

John Berger, “And Our Faces, My Heart, Brief as Photos”

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What George Grosz Did

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Ghosts by George Grosz

 

“My Drawings expressed my despair, hate and disillusionment, I drew drunkards; puking men; men with clenched fists cursing at the moon. … I drew a man, face filled with fright, washing blood from his hands … I drew lonely little men fleeing madly through empty streets. I drew a cross-section of tenement house: through one window could be seen a man attacking his wife; through another, two people making love; from a third hung a suicide with body covered by swarming flies. I drew soldiers without noses; war cripples with crustacean-like steel arms; two medical soldiers putting a violent infantryman into a strait-jacket made of a horse blanket … I drew a skeleton dressed as a recruit being examined for military duty. I also wrote poetry. ”

—George Grosz