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Meme Magick:And to think it all started with a simple hashtag🔥Almost the entire world knows what “MAGA” means…Well it’s time to show them what the real Left, the Progressive Left Jacobin’s #MGRA means…Let’s make this hashtag go viral and let the hyper-selfish, greedy, corrupt oligarchs know they are all on borrowed time☠️🔻💥You must always remember, the Will of even one awakened monad can out-manifest the weak and downtrodden Will of thousands of hypnotized Ignavi.#MakeGuillotinesRedAgain-Alternatively-#MakeTheGuillotineRedAgain#MGRA Tick Tock!Liberty, Equality, Fraternity…or Death☠️
Pubblicato da The Movement Rebooted su Giovedì 21 dicembre 2017
THE SUPREME MASTER OF COMPLETE WAR
by Jack Gerhardt (with illuminist conclusions)
Mohammed was the supreme master of complete war and has had no equal to this day. His understanding of the use of force was sophisticated and subtle. Physical violence was only a small part of his understanding of war. That is why comparisons make him superior to military men such as Julius Caesar. Other military geniuses established empires, but none of them had a process for war and empire that lasted for fourteen-hundred years and is still going strong. Mohammed’s profound insight was not simply the waging of physical war but of waging war of the mind, emotions, culture, politics, and religion. There is no aspect of being human that Mohammed did not use for war. Money, salvation, sex, culture, religion, destiny, family, immigration, legal codes, government, power, deceit, racial pride, tribalism, community, fear, propaganda, diplomacy, spy-craft, philosophy, ethics, and psychology were all used for jihad. Jihad was not holy war but complete and total civilizational war.
Sharia is based on the principles found in the Koran and other Islamic religious/political texts. There are no common principles between American law and Sharia.
Under Sharia law:
• There is no freedom of religion
• There is no freedom of speech
• There is no freedom of thought
• There is no freedom of artistic expression
• There is no freedom of the press
• There is no equality of peoples—a non-Muslim, a Kafir, is never equal to a Muslim
• There is no equal protection under Sharia for different classes of people. Justice is dualistic, with one set of laws for Muslim males and different laws for women and non-Muslims.
• There are no equal rights for women
• Virgin testing
• Women can be beaten
• A non-Muslim cannot bear arms
• There is no democracy, since democracy means that a non-Muslim is equal to a Muslim
• Our Constitution is a man-made document of ignorance, jahiliyah, that must submit to Sharia
• Non-Muslims are dhimmis, second-class subjects
• All governments must be ruled by Sharia law
• Unlike common law, Sharia is not interpretive, nor can it be changed
• There is no Golden Rule
SUBMISSION AND DUALITY
• Islam is based upon two principles—submission and duality. All of the world’s civilizations, cultures and political systems must submit to Islam.
• Duality means that Islam always divides everything in two. It also holds two contradictory positions on nearly every topic. Even though the ideas contradict, they are both true.
• Submission means that Islam must dominate all aspects of humanity. Art, literature, education, customs, food, law and every other aspect of being a human must be done in the way of Islam.
Selections from the Koran
• Islamic Paradise is a garden of fleshly pleasures.
• There are creatures, similar to spirits, called jinns that populate the earth.
• Allah determines all things, including whether a person becomes a Muslim. Allah creates some men for Hell.
• Violence is common in the Koran. • The Koran contradicts itself but has rules for dealing with the contradictions.
• Allah is to be feared, not loved.
• Islamic ethics are dualistic. Islam has one code for believers and a second ethical code for Kafirs. The term Kafir is dualistic, since the Kafir is the “other”. Jihad and slavery all have an Islamic ethical code.
• A Muslim is a brother only to other Muslims. A Muslim is honest with other Muslims and may deceive Kafirs. There is an Islamic word for sacred deception, taqiyya.
• Killing a Kafir is not a serious charge in Islamic law. Theft and murder are acceptable in Islam.
Slaves and slavery
Slave is a positive term in Islam. All Muslims are the slaves of Allah.
• Slavery is based upon a detailed ethical code. It is a sin for a slave to escape a Muslim master. Slaves may be used for sex.
• Mohammed was involved in every aspect of the slave culture. Islam has taken slaves from every culture. Islam was the basis of the African slave trade and have enslaved Europeans for centuries.
• Christians act as dhimmis on the subject of slavery.
Having sex with your female slaves is a moral good.
• A married slave can be used for sex.
• The captives of jihad can be used for sex.
• Mohammed always got the pick of the captives to be used for sex.
•The marriage of the captive woman is annulled, as per the above Koran verse.
• Don’t rape a pregnant slave. Wait until she has delivered.
•Mohammed was surrounded by slaves all of his life.
• Mohammed, the white man, owned many slaves, including black slaves.
• Slaves played a part in every aspect of Mohammed’s life, including building his pulpit. • Mohammed bought and sold slaves in both retail and wholesale lots.
• Sex slaves were part of Mohammed’s harem. • Mohammed gave slaves as gifts and received them as gifts.
• Islam’s dualism manifests in how women must submit to men. Women can be beaten, but in an Islamic way. Women are spiritually and mentally inferior to men. It takes the testimony of two women to equal that of a man.
• The Islamic law, the Sharia, lays out the proper way to beat the wife.
•Don’t have sex with a woman who is having her period.
• Sharia laws concerning women are the rule of law in Islamic families.
• Islam was the first civilization to provide and guarantee women’s rights.
• Mohammed gave the world the perfect example of how women are protected in Islam. • Muslim women are treasured and as treasures must be protected from the evils of the kafir world.
• The rights of Muslim women come from Allah.
•These rights are for muslim women, not Kafir women
• Mohammed attacked the Jews of Khaybar. After crushing them, he created the status of dhimmi for the Jews. They lost all of their wealth, but remained to work on the land. They paid half of all they made each year as a tax. Islam became the complete political ruler of the dhimmi.
• Later, when Islam conquered the Christians, the dhimmi status became codified. All of the public space and legal system was Islamic. The Christians had only their homes and church buildings as their space. Dhimmis had almost no legal rights and could not testify in court against a Muslim.
• Over a 1400 year old period, Islamic jihad has killed over 270,000,000 Kafirs.
• Koranic doctrine: Jesus was a Muslim prophet who could do miracles through Allah. Jesus was born of Mary by virgin birth. He was not crucified but taken up to Paradise. The Christian Trinity is God, Jesus and Mary. The Gospels are corrupt and in error.
• The Koran says: The only true Christians are those who accept Mohammed as the prophet of Christianity. Christians must accept the political domination of Islam.
At first Mohammed used the Old Testament to “prove” that he was a real prophet, just like Moses, Noah and the others. When Mohammed moved to Medina, which had many Jews, trouble with the Jews started. The Jews said that Mohammed was not a prophet in the line of the Jews.
• After arguing with the Jews, Mohammed turned his jihad on them. He systematically annihilated all three tribes of Jews. He took all of the wealth of the first two tribes and then he exiled them. He killed all of the men of the third tribe and sold the women and children into slavery.
• Jihad was developed by Mohammed in Medina, where he turned to politics and war.
• Jihad started as raids on the Meccans. It then progressed into open war. The nature of the Koran changed from religious to political. It became a basis for war against all Kafirs.
• Mohammed won his first battle at Badr and then lost his next battle. After that, he never lost. He entered Mecca by conquest ten years after he left.
• The Koran says all Muslims are to take part in jihad, to the extent of their abilities. The Hadith is filled with the rules of jihad.
The basics of Islam
• The Koran is what Mohammed says are the words of Allah. Many of the stories from the Old Testament are retold to support the Islamic belief that Mohammed is the last in the line of Jewish prophets and other prophets of Allah.
• The Koran defines who Allah is. Allah is to be feared, not loved. Allah determines all that happens and hates the unbelievers.
• The Hadith contains the details of how Mohammed is the model Muslim in all that he did and said. The Sira contains his entire life story.
• There is both a religious Islam and a political Islam.
Islam is based entirely upon Mohammed. The easiest and surest way to know Islam is to study Mohammed’s life and words.
• Mohammed was born in Mecca 1400 years ago. He was an orphan who became a business man. At about 40 years of age he started to have visions and hear voices. The voice told him that he was a prophet of Allah. He began to tell others of his message from Allah. After 13 years the Meccans ran him out of town and he moved to Medina.
• In Medina he became a politician and war leader. He developed jihad, sacred violence for Allah. Over the next 10 years Mohammed crushed his enemies and became the first ruler of all Arabia.
• We know the smallest details of the way he ate, his anger, his appearance and even his family life.
Tears of Jihad
• Jihad has killed over 60,000,000 Christians. • Islam attacked the Christians of Smyrna in 1922. It was an annihilation that took place as the Americans and Europeans stood aside.
Sharia in America today
• On September 11, 2001 jihadists attacked and destroyed the World Trade Center in New York. This atrocity was in compliance with the doctrine of jihad found in the Sharia law. The attack was a political action motivated by a religious mandate for endless jihad.
• Textbooks in America must be approved by Islamic groups. This is in accordance with Sharia law.
• American employers and schools are met with demands for time and space to do Islamic prayer. These demands are based on Sharia law.
• The American banking system is becoming Islamicized with Sharia financing. The banking system is becoming Sharia compliant in financial law, but is ignorant about the totality of Sharia law.
• Universities are asked to provide sexually segregated swimming pools and other athletic facilities for Muslim women.
• Hospitals are being sued for not providing Sharia compliant treatment.
• College courses at the college level do not use critical thinking regarding the history and doctrine of Islam. Under Sharia nothing about Islam may be criticized.
• American prisons are a stronghold of Islamic proselytizing and jihadi recruitment.
• Workplaces are being made Islamic worship sites through special rooms and time off to pray. This is in accordance to Sharia law.
• Islamic refugees bring all of their wives for welfare and medical treatment to America. American authorities will not act—even when presented with evidence. Polygamy is included in the Sharia.
• Wars were fought in Iraq and Afghanistan to implement constitutions whose first article is the supremacy of Sharia law.
Music, song and dance
• Flutes, stringed instruments and the like are condemned
• Those who listen to singers will have their ears filled with lead on Judgment day
• Songs create hypocrisy
Tears of Jihad
THE TEARS OF JIHAD Here are the approximate deaths due to jihad over the last 1400 years
Christians 60 million
Hindus 80 million
Buddhists 10 million
African slave jihad 120 million
Total 270 million
My compilation of text is written by Bill Warner, the founder of the Center of Study of Political Islam and author of several books teaching the West what we weren’t taught.
The drawing of the prophet Mohammed is drawn by right wing Netherlands politician Geert Wilders who wanted to do a drawing contest in honor of slain cartoonist Charlie Hebdo. A radical immam in Pakistan threatened the Netherlands with nuclear bombs (if he had access to them) if Mr. Wilders did not cancel the cartoon contest. The contest was canceled, but Mr. Wilders said, “it doesn’t matter, I still exposed your barbarism”.
The Regressive Left destroy Christianity while embracing Islam (Multiculturalism) and The Right use Islam to enforce Christianity i.e. their Power. Both are WRONG!!!
Hyperian History Of The World (20th Century, Part 7)
Cinema was perhaps the most significant art form of the century. It unified the arts magnificently and, though it often got very experimental, it never alienated the popular audience, becoming a key part of the artistic consciousness of ordinary people.
The idea that popular entertainment could now be considered as high art was significant. Something similar happened in the 20th century with music. While classical music grew ever more experimental and obscure, popular music exploded, ceasing to be mere entertainment and leading to one of the most widespread outpourings of human creativity in history.
At the beginning of the century, in New Orleans in the USA, the huge melting pot of cultures led to the development of a new genre of music. Musicians got together in bars and clubs to perform for the people. The music was based on various folk traditions of the various cultures represented in the city, yet the musicians tended to be highly skilled and were often playing what would normally be considered ‘classical’ instruments, such as trumpets, trombones, clarinets etc. The sound of all these instruments playing together was something quite new, especially when anchored by a rhythm section of piano, guitar, bass and drums. The skill of the musicians led to them playing in a far more complex way than the folk traditions called for, often showing their skill in improvised solos, both individually and in groups. This new music became known as Jazz.
Jazz benefitted, as did most popular music of the time, from the new technology of sound recording. The first Jazz record was released in 1917, initially as a kind of novelty, yet soon Jazz grew in popularity and spread all around the US, becoming the soundtrack to the prohibition era of the 1920s.
Whilst beginning as a form of popular entertainment showcasing the improvisational talents of Jazz musicians, such as Louis Armstrong’s masterful trumpet playing, eventually Jazz would develop into a far more serious art form, an entirely new way to compose serious music.
One of the first, and greatest Jazz composers, and one of the most important and significant composers of the century, was Duke Ellington. Ellington was the man who first raised Jazz music to a serious art form, easily rivalling the ambitions of any classical composer. His compositions for large Jazz band became ever more elaborate, combing strictly composed music with elements of improvisation and even pushing the boundaries of recording technology as Ellington’s compositions grew ever longer, requiring more and more records and leading, ultimately, to the development of the long-playing record, which would become the standard format of all popular music.
While classical music was being appropriated by an academic elite, Jazz composers became far more appealing to ordinary people, as they were expressing the struggles of everyday people using a musical language that was both familiar yet also exciting and new.
In the 1940s, brilliant performers such as Charlie Parker and Dizzy Gillespie developed Bebop, a new form of Jazz which emphasised smaller ensembles and intense and highly expressive improvisation. In the 1950s Miles Davis pioneered firstly Cool Jazz and then Modal Jazz, before, in the 1960s, Ornette Coleman, John Coltrane and others developed Free Jazz, which saw the start of Jazz’s descent into avant-garde experimentation. All the while, the true heir to Duke Ellington was the great composer Charles Mingus, who, in 1963, released ‘The Black Saint And The Sinner Lady’, perhaps the most brilliant Jazz composition of all time.
However, at this time Jazz was becoming more and more experimental, eventually falling out of favour with popular audiences. Yet now another new form of music had emerged, Rock And Roll.
US blues musicians had switched to electric instruments after the invention of the electric guitar, which would become one of the most important and expressive instruments of all time. Eventually, in the 1950s, Rhythm And Blues developed into Rock And Roll, a wild, exciting form of entertainment aimed towards rebellious teenagers. The music industry saw the potential of this new form of music and launched Elvis Presley, who became a huge sensation all over the world. Although a phenomenal performer, Presley was ultimately just another pop star, a singer singing songs written by songwriting professionals. The true spirit of Rock And Roll was better represented by the first great composer of Rock music, Chuck Berry.
Chuck Berry truly created a musical revolution. He brought the electric guitar to prominence, switching it to the lead instrument of the rock band and playing it in a brilliant, wild and at times aggressive manner. He also sang songs which addressed the everyday issues of young people, giving them something to strongly identify with. But most significantly, Chuck Berry was singing songs that were his own. With Chuck Berry the composer and the performer became one and the same, and subsequent Rock musicians weren’t taken seriously unless they were the authors of their own material.
Chuck Berry’s wild music, with its themes of adolescent love (and, implicitly, adolescent sex) was met with great resistance by the conservative society in the US of the 1950s, and Rock And Roll was repressed and replaced by more streamlined pop singers, who had assimilated the Rock instrumentation, yet were singing far more acceptable material. Rock And Roll might only have been a brief fad, yet it had not been defeated, but had simply gone into exile.
Like Jazz, Rock music had begun as a quintessentially American form of music. Yet after its suppression, it travelled across the Atlantic and arrived in Britain in the form of record imports. British kids of the time became enamoured of the likes of Elvis Presley and Chuck Berry, but in Britain there was far less resistance and Rock music there flourished and developed into something truly magnificent.
Eventually, British bands of the 1960s would take Rock music back to the US, and this time, there was nothing which could stop it. The British Invasion, spear headed by The Beatles, who became mega stars, also featured bands such as The Rolling Stones, The Kinks, The Yardbirds, The Animals And The Who.
While The Beatles were the heirs of Presley, pop stars whom the industry used to make millions, the true spirit of Rock music was better represented by The Rolling Stones, the true heirs of Chuck Berry’s Rock And Roll. Wild, rebellious and often overtly sexual, the Stones turned everything up to maximum and made Chuck Berry look quaint as they unleashed the true Dionysian spirit of Rock And Roll.
This is truly the most significant element of Rock Music. The Ancient Greek God Dionysus had been known as the god of wine and intoxication and his followers indulged in wild lascivious behaviour and, in retrospect, it might be better to designate him as the god of ‘sex, drugs and Rock And Roll’. Although Rock music didn’t exist in Ancient Greece, that spirit had always been there as a fundamental part of the collective human psyche. Christianity and other religions had so heavily repressed humanity that, with the fall of ancient paganism, the Dionysian spirit had all but been wiped out. With the arrival of the Rolling Stones in the mid 1960s, Dionysus was back with a vengeance. Music had always had the potential to release the Dionysian, yet the artistic heights of classical music had usually been far more Apollonian in nature. Rock music, however, was exactly what humanity had needed. Dionysus was back and Rock music conquered the world. In the subsequent decades a truly astonishing quantity of brilliant music would be made, as more and more ordinary people came to realise the creativity they had within them. To be a Rock musician did not require years of training and Rock often favoured low skill levels, yet it was still capable of producing great artistic masterpieces. As such, this became the music of choice for humanity. Whilst it may have never reached quite the artistic heights of the great classical composers, Rock music is nonetheless one of the most significant developments in the entire history of humanity.
During the early 1960s, when Rock had been driven into exile, there had been a brief fad for folk music in the US, with Bob Dylan rising to stardom with his political protest songs. In 1965, after the British Invasion, Dylan saw the potential of Rock music and quickly converted, to the outrage of many of his fans. Dylan took Rock music and combined it with his own style of visionary songwriting and, on his album ‘Highway 61 Revisited’, delivered the first major artistic statement of Rock music. After this, the floodgates opened and Rock began producing a huge quantity of great music, from the psychedelic rock of Jefferson Airplane and the Grateful Dead in San Francisco, Pink Floyd in Britain, the astonishing guitar playing of Jimi Hendrix which inspired Jazz musicians to accept Rock as a serious art (with Miles Davis pioneering Jazz-Rock fusion), the harder blues rock of British bands such as Cream and Led Zeppelin, the experimental genius of composers such as Frank Zappa and Captain Beefheart and folk rock masters such as Van Morrison and Tim Buckley.
The Dionysian heart of this era was best represented by The Velvet Underground, perhaps the most influential band of all time, and the mesmerising presence of Jim Morrison, lead singer of The Doors, who pushed the boundaries of acceptability in his live performances.
Into the 1970s many Rock musicians began creating ambitious compositions to rival classical composers, with Progressive Rock in Britain and a particularly creative school of German bands such as Can and Faust. Singer-songwriters of the age also took the art of songwriting to levels it had never before risen to, artists such as Joni Mitchell, Leonard Cohen, Neil Young, Tom Waits, Bruce Springsteen, Peter Gabriel And Tom Petty.
Then, in response to this complex creativity, came Punk Rock, loud, aggressive and more musically simple, yet a magnificent unleashing of the real fury and frustration of ordinary people. The Sound had been pioneered earlier by The Stooges, then by the Ramones in the US, before British bands such as The Sex Pistols and The Clash created an explosive movement of a new generation of Rock Music.
Following the Punk revolution, the sheer quantity of great artists increased to the extent that they can’t all be related here. Rock music in the 1980s became incredibly diverse, Punk, Hardcore, Heavy Metal, Synth Pop as well as completely new styles like Hip-Hop which had little to do with the original concept of Rock Music. The darker, more Dionysian strain of Rock was kept alive by Gothic Rock bands, Singer-Songwriters such as Nick Cave and Industrial rock going into the 1990s with a masterpiece like ‘The Downward Spiral’ by Nine Inch Nails representing a high point.
Perhaps more than any other art form in history, Rock music represents the heavily repressed Shadow of humanity desperate to be unleashed. Is there anything quite like the Dionysian mayhem of a great Rock concert?
This major unleashing of human creativity at the end of the 20th Century shows just how ripe humanity is for major revolution. Rock music is the human collective unconscious literally screaming out for release.
We have suffered centuries of repression, but Dionysus will have his due!
Most of us here are conscious of the psychological foundations of Ontological Mathematics. If you read the God Series by Mike Hockney or the Path of Shadow by Morgue, you are very well aware that we are focusing highly on Jung’s psychology and the Myers-Briggs system that evolved from it.
The system proposed by Jung was the following :
Introversion vs Extraversion
Sensing vs Intuiting
Thinking vs Feeling
In a nutshell, introversion is being turned inwards while extraversion is being turned outwards.
Sensing and intuiting are the perceiving faculties.
Sensing is attuned to local phenomenon and intuiting is attuned to non-local phenomenon (extra-sensory perception).
Thinking and feeling are the judging faculties. It has to do with how someone takes a decision. Is it based on logic or emotions ?
Myers-Briggs extended this system by adding the Judging vs Perceiving faculties. Jung clearly used those but did not include it directly in his system. It was implied.
So for example, in Jung’s original system, we had 2^3 possibilities, thus 8 different combinations of personalities. From spectrum ranged from ESF to INT.
For Myers-Briggs, we now have 2^4 possibilities, thus 16 different combinations of personalities. The spectrum ranged from ESFP to INTJ. Most Hyperians tend to be on the following spectrum : intuitive, introvert, judging and thinking individuals. This can vary from a person to another but fundamentally, to understand OM is to be INTJ at the core. This means, for example, that you can have an ESFP personality in your everyday life, being energized while hanging with people and being very social, but when you get into your mind and think about Life, the universe and everything, you channel INTJ thinking if you are attuned to OM.
In a nutshell, to understand OM is to think, to judge, to use intuition and to focus inwards.
You will never perceive directly Euler’s Formula. You can conceive it with your mind. This is the power of the mind-space : to conceive.
In the last books from the OM authors, they proposed two new dichotomies : altruism vs selfish, and dominant vs submissive. So we end up with 2^6 possibilities. That is, 64 different combinations of personalities.
Altruist vs selfish
Dominant vs submissive
Those two new categories are very important and it would be in your hyperian interest to get to know them. They have a big impact on the world.
It is pretty simple :
An altruist person is someone that is attuned to the collective, the common good.
A selfish person is someone that is attuned to the individual, to the personal good (I, Me, Mine).
As always, we Hyperians aim for a balance in the psyche. Someone too altruistic may loose the sense of self and become lost in the collective, losing the sigh of personal achievement and goals. In opposite, someone too selfish may evolve rapidly on his own but may lack the collective vision to implement a coherent system that may contribute to the whole of society. Thus, look for balance and proper self integration.
In Hegelian terms, a dominant person would be a master and a submissive would be a slave. This seems like a strong connotation and it is. But it doesn’t mean that the submissive trait should be generally avoided. Think of a music band, when the saxophone player is doing a solo, he is the dominant force of the band and the other band mates will follow his lead and cues, they are submissive to the solo. In a well balanced music band, the roles will change as the music evolves and different sections of a tune are explored.
It is pretty simple :
A dominant person will take the lead in a situation and give commands.
A submissive person will follow the lead in a situation and obey commands.
The BDSM community is well aware of this dichotomy.
It is very healthy to explore those two newly proposed dichotomies in order to understand deeply your Innerself.
After all, a Hyperian will seek to understand its monadic inner psyche in order to integrate properly the Shadow Self, the Mirror Self and the Power Self.
Knowing those 64 combinations of personality types may give you a great overall understanding of the different kinds of people you may encounter in your Cosmic Voyage in the Holos.
So this is it. The 64 personality types of OM/Hyperianism psychology. Here is a proposed shorthand for the two new dichotomies. It might evolve differently.
As always, ad astra
Brice Merci – hyperian
Hyperian History Of The World (20th Century, Part 6)
In the 20th Century, the turbulent political events, resulting from the fracture of humanity, were reflected in the arts of the time. Music, visual art and even literature began to descend into extremes of experimentation, with the discarding of many, if not all, of the traditions of the various forms. Whilst this produced many brilliantly innovative results, it also had the effect of alienating popular audiences. Art ended up being almost appropriated by an intellectual, academic elite, with little regard for the tastes of ordinary people.
The greatest art throughout history had tended to find a balance between tradition and innovation. One of the most powerful art forms of the ancient world had been Greek Tragedy, which had been the model for Wagner’s concept of ‘Gesamtkunstwerk’ which he had utilised in his epic operas. The idea was to combine many art forms all at once in a single work. Greek Tragedy had been a visual experience, an aural experience, thanks to the singing of the chorus, and also a literary experience, with the retelling of ancient legends.
Yet the problem was that these works had no final, fixed form for posterity. The words of the plays were written down, so we know the basic content of the plays, and archaeology can give us an idea of what the visual elements might have been, yet we have no real idea what any of the music sounded like.
Since medieval times, composers had devised ways of writing down the music they were composing, so, for Wagner’s works for example, we know exactly how Wagner wanted the music to sound, as he wrote down the score, and we know what the text of the operas are and we also know some of the visual elements, thanks to a brand new technology of the 19th century, photography.
At the end of the 19th century, another brand new technology was developed which would transform the world – sound recording. Now, specific performances of music could be preserved for all time, rather than just the notes the composer wanted to be played being written down.
At around the same time, a final major technological innovation took place. The idea was to have a camera which took pictures continuously in rapid succession, and then for these pictures to be projected onto a screen also in rapid succession as they had been taken, to give the illusion of a moving image on the screen. This led to the birth of an extraordinary new art form, Cinema.
Cinema, although it began as a novelty, became the most complete art form, in terms of Gesamtkunstwerk, as it completely combines visual, aural and literary elements in a fixed form which can be reproduced over and over again.
Initially, of course, films were silent, as sound recording wasn’t yet able to combine with moving images. Very quickly after the invention of the new art form, Cinema developed from simply capturing events in reality, to showing fantastical creations of film directors. Sets were built to show wondrous worlds and actors were employed to act out stories in front of the camera. Directors also realised that they could combine footage in different ways after the footage had been shot, and films became edited together in all sorts of innovative ways, in order to produce films which told ever more challenging stories and produced every more fascinating imagery. Soon, the movies became big business as their popularity with ordinary people increased. In Hollywood, California, the movies became a huge phenomenon.
In 1915, American director David Wark Griffith, produced the first ‘Hollywood Blockbuster’, the 3-hour long ‘The Birth Of A Nation’. The film caused a sensation, and for all manner of reasons. Firstly, from a technical point of view, it represents the first complete expression of the art of cinema as we know it today. The film’s substantial length allowed for a long, complex story to be told. Griffith utilised all sorts of techniques of cinematic narrative, such as montage editing, camera angles, camera movement etc. to create a higher degree of emotional effect for the viewers. He even worked with a composer to create a musical score, specific to the film, the first in cinema history. Unfortunately, the other reason the film caused a sensation, was due to its highly controversial, and, frankly, despicably racist content, as the film tells the story of the American Civil War and its aftermath, focusing on the formation of the Ku Klux Klan who, in the film, are portrayed as the heroes!
Nonetheless, the film is a technical masterpiece which created the language of cinema that is still used today. Cinema would become the most influential and popular art form of the century, combining all art forms into one in ever more creative ways. Unfortunately, the big business side of the movies, particularly in Hollywood, has often had the effect of restraining the artistic elements in favour of more commercial ideas, and film directors have ever had to battle against producers to get their work to be how they want it.
In the 1920s, Cinema spread all over the world. In Germany, the most innovative were the expressionist directors like Fritz Lang and Friedrich Wilhelm Murnau, in Russia new technical ground was broken with the montages of Sergei Eisenstein, and in Hollywood the comedy genius of Charlie Chaplin and Buster Keaton flourished. Then, in 1927, the major revolution came. For the first time, in the film ‘The Jazz Singer’, spoken dialogue was heard, with Al Jolson uttering the immortal line, “Wait a minute, you ain’t heard nothin’ yet!”
Prior to this, the aural element of cinema had been purely musical, but now dialogue and sound effects became an integral part of cinema. The 1930s saw the solidification of the film soundtrack with great composers like Max Steiner and Erich Korngold, Hollywood went through the golden age of both gangsters films and horror films, and world cinema expanded with French director Jean Renoir and Japanese director Yasujiro Ozu.
The 1940s saw the appearance of one of the greatest figures in the history of cinema, Orson Welles. At a young age, Welles had already found great success in the theatre, both as an actor and as a director. He had then moved on to the radio and, in 1938, had caused chaos with his radio production of ‘War Of The Worlds’ in which he presented the alien invasion as if it were a breaking news story, which caused panic amongst many listeners who believed that actual aliens from Mars were invading Earth!
Welles then went to Hollywood where, thanks to his fame and notoriety, he managed to get an almost impossible contract. Despite being just twenty five years old and despite having never worked in cinema before, Welles managed to get a contract to write, direct and star in a film, with a sizeable budget and even complete artistic control, all much to the envy of many seasoned directors, many of whom had worked in Hollywood for decades and had never even dreamed of such a contract. The result was ‘Citizen Kane’, still regarded by critics as perhaps the greatest film ever made.
Welles had no real idea how to make a movie, yet used his considerable artistic genius to basically make it up, leading to one of the most original and innovate films of the time. Citizen Kane pioneered all manner of techniques, resulting in a masterpiece featuring beautiful visuals, great acting, a great script, brilliant use of sound and a wonderful score by Bernard Herrmann, all balanced into a single work of art which serves as a powerful meditation on the search for meaning in human life.
Unfortunately, despite this artistic triumph, Welles never again received such a contract and his other films, many of which were still masterpieces, never matched up to that first artistic success.
Nonetheless, Welles is a pivotal figure in cinema history. Welles showed that cinema had become a serious art form whilst still being a form of popular entertainment. Film directors now saw themselves as serious artists and cinema went on to give us the wondrous creativity of Alfred Hitchcock, John Ford, Akira Kurosawa, Elia Kazan, Ingmar Bergman, Federico Fellini, Luis Bunuel, Stanley Kubrick, Roman Polanski, Francis Ford Coppola, Martin Scorsese, Steven Spielberg, Theo Angelopoulos, Andrei Tarkovsky, Terry Gilliam, Quentin Tarantino, Bella Tarr, David Lynch and many others.
Despite these brilliant filmmakers, who have crafted cinema into one of the most powerful and expressive art forms in human history, the industry of the movies is a great example of the evils of modern capitalism. Unlike other art forms, cinema requires substantial capital in order to produce masterpieces. As such, directors, in order to acquire funding, have to make concessions to the money men, rarely enjoying the artistic freedom which Orson Welles had on Citizen Kane. Modern cinema is a pale imitation of what it once was. Despite technological advances, most movies today are simply rehashes of older ideas used to make vast amounts of money. Just look at the ‘Star Wars’ franchise which now churns out substandard material where the original films were brilliant, populist masterpieces.
Cinema has the potential to release the best of human creativity, yet is hampered by the evil of capitalism. In the Hyperian New World Order, once capitalism is brought under control, creativity and artistic quality will be the only reasons to make movies, freeing the artists from the chains of capitalism.
This magnificent synthesis of the arts, one of humanity’s greatest innovations, must be set free and allowed to create true wonders once again.