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Archive for Dicembre, 2019:
6 Dichotomies Personality Types
Hyperians,
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.
I-E
S-N
T-F
J-P
A-L
D-U
***
As always, ad astra
Tags: Psychology
Hyperian History Of The World (20th Century, Part 6)
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.
Tags: Cinema
WESTERN APATHY
WESTERN APATHY
Whatever else can be said of them, Muslims are not Last Men. They don’t care about comforts and petty trivialities. They are collectively united by a singular culture, and want to see that culture spread.
In the Western world, no such unity exists. Though the West is the best (because it is the least ignorant), reason has begun to eat itself. No one knows what is true anymore, and no one really cares. The only concerns Westerners have is that they have enough bread and circuses to last them. Give this to a population, and they will never rebel – even when they are under siege. They will literally sit around in denial, hoping that things will just “blow over,” all because they do not want to give up their comforts. They don’t seem to realise that their comforts will be forcibly taken away from them in due course anyway. By refusing to fight, they are ensuring such an outcome. Westerners are giant infants. They are the Id crew. They have become soft, decadent Last Men who will surely be conquered by savage primitives (Hunters) if they don’t turn themselves around. Muslims (Hunters) are committed to a cause higher than themselves. Can the same be said of the West? You must be having a fucking laugh. The average Westerner couldn’t care less about anything outside their daily bubble. They have had it too good for too long. They have no idea what it’s like to fight for freedom and hold onto precious values worth dying for. No one respects anything. People think of themselves as supreme individualist “freethinkers,” but what they actually are are a bunch of apathetic, pathetic Last Men who just want to live comfortably. To get the average Westerner off his fat ass and onto the streets to campaign for something worthwhile is practically impossible. They don’t want to risk their Last Man lifestyle. They are happy to ignore any and all issues (as long as those issues don’t affect them directly). Just look at liberals. These sick fucks don’t want to wipe out even sicker fucks (Muslims and the alt-right) from their midst. Instead, they want to live among them, while giving them no real say in what happens. What the fuck do they think is going to be the outcome of such an endeavour? They have no idea about Will to Power, the Hegelian dialectic, or Vico’s cycles. Liberals are dumb fucks who have been allowed to control the social narrative (which the right-wing elite wholly support, since liberals are ineffectual clowns who will never make a mark on the world). Liberals are unwitting puppets of the elite. If they truly want to make a difference, they will join radical Illuminist Meritocrats and take up arms in righteous battle. Anyone who thinks that the upcoming conflict will be peaceful is either ignorant or completely retarded. This story may have a happy ending (as long as our forces of light prevail), but the journey to that ending will be anything but happy. Struggle and violence are certain. Just look around you – it has already begun.
Cracks are beginning to turn into chasms. The rats have begun pouring out of the sewers and don’t appear to be heading back in anytime soon. Tensions are at an all-time high. Barely a day passes where some horrific atrocity hasn’t made the front page news. Tolerance for others is at an all-time low. People are more suspicious and withdrawn than ever. No one seems to be able to agree on anything. Opposing factions are killing each other all over the world, and no one seems to be able to do anything about any of it. Politicians are mistrusted and often outright despised, even by those who elected them. No one takes them seriously anymore. They are talking heads who never keep their word on anything (even if they wanted to, they couldn’t make a difference, since it is not politicians who are running the show). In times of crisis, all they seem to do is spout the same old platitudes to console the population. People no longer look to the powers-that-be for help. They have started taking matters into their own hands. Muslim subhumans are persisting with their wave of terror, killing innocent people in the name of their vile, Satanic “God.” Alt-right retards have begun to adopt Islamic tactics by driving cars into crowds, showing just how much they admire those they claim to hate. Alternative media is on the rise while mainstream media is on the decline. The ruling elite are old, dried up husks who have no connection to the people they rule. They don’t “get” them, and they don’t want to. To them, the “Heroes,” we are nothing more than simple peasants (the Hunted) who should work for them but have no say on any matters of importance. Simply put, things are getting worse and worse.
The outcome is not certain. The future of humanity hangs in the balance. Survival is not compulsory. If you want a better world, you must fight for it. Increasingly, the Ignavi are not tolerated, even by common society. Everyone must pick their side. Which side are you going to be on? Which cause is worth risking your neck for? The door is closing soon, and everyone must decide on where they will stand in the upcoming war.
The alt-right and the Muslims are gaining more momentum and getting more radical with each passing day, while liberals are getting more and more useless (and who would’ve thought that was possible?!). No one’s listening to you hippie fuckers, and nor should they. All you cunts are doing is kicking the can down the road. Liberals are sitting ducks waiting to be picked off by those with more will and more drive. Liberals have no solutions, and no Big Idea. The Muslims do, and the alt-right do. No one in their right mind would join any of these moronic groups, so there is only one option for sane, courageous individuals…. The rational choice: Become an Illuminist Meritocrat. Become a radical left winger. Join us and fight for a better world.”
http://armageddonconspiracy.co.uk/Malfeitors-Final-Word(3041118).htm
Tags: Western Apathy
Hyperian History Of The World (20th Century, Part 4)
Hyperian History Of The World (20th Century, Part 4)
The academic fracture of the 20th century also applied to the arts, particularly music. The romantic era of the 19th century drew to its end at the beginning of the 20th century with the mighty symphonies of Gustav Mahler. Like Wagner before him, Mahler utilised huge orchestral forces and crafted symphonies of epic length and huge scope. The final part of his eighth symphony sets the text of the final scene of Goethe’s Faust to music resulting in an intensely dramatic experience. Finally, in his ninth symphony, Mahler composed one of the most deeply profound works in music history, the best reflection of Mahler’s own statement that, ‘a symphony must be like the world. It must contain everything.’
Mahler died in 1911, and at around that time, other composers had begun to do something strange. For centuries composers had made use of traditional diatonic harmony which had become the standard musical language. There is some evidence for the breakdown of traditional harmony in the symphonies of Mahler, and even further back in the operas of Wagner, yet this was nothing like what was to come. Rather than build on and develop the systems of the past, composers began to just completely create their own systems of harmony from scratch.
The most famous composer to invent a new system of harmony was Arnold Schoenberg. Schoenberg noticed that, in traditional diatonic harmony, certain notes (depending on which key one was in) were more privileged than others (out of the twelve in the scale). The main note of a key (known as the tonic) and the note a fifth above it (known as the dominant) were far more privileged than the others in the scale, and occurred more often in a piece of music. Schoenberg decided, for what ever reason, to create a new system of composition in which no note is more privileged than any other and each of the twelve notes has just as much chance of occurring than any of the others. Originally called twelve-tone composition, this system came to be known as serialism, and it produced very odd, unusual sounding music without any sense of harmony. It did, however prove very influential in the 20th century, inspiring composers to move away from traditional harmony and explore ever more unusual and avant-garde ideas.
However, most of this music alienates average audiences. Classical music in the 20th century became increasingly intellectual, often in an overly pretentious way. Perhaps this was the reason for the rise in the artistic merits of popular music in the 20th Century, with firstly Jazz and then Rock music becoming the music of choice for ordinary people.
As an intellectual endeavour, 20th century classical music has produced an incredible array of ingenious ideas. In a very short time music has progressed to a state where, literally, anything is possible. There are no rules anymore, a composer can literally do anything he or she wants (even as far as sitting and doing nothing) and it can be called music. But now, there is huge polarisation. Ordinary people dismiss this all as nonsense, “this is not music!” they say, they view it as overly intellectual, pretentious and even arrogant. But, the highbrow musical intellectuals, those ‘in the know’ dismiss the views of the ‘ignorant’ masses, and insist that they and they alone have what it takes to appreciate this art.
Armed with the right knowledge, and the right mindset, one can find appreciation in the bizarre soundscapes of Stockhausen, Boulez, Carter, Penderecki, Ligeti, etc. But, if one is being honest, something is lacking. This music doesn’t contain any of the magic, any of the majesty of a Beethoven symphony, a Wagner opera, a Mozart concerto or a Bach oratorio. Mozart and Beethoven certainly did not compose for a highbrow intellectual elite. They were men of the people and their music was for the people. Beethoven frankly despised the elite, and his music speaks regularly of a universal brotherhood. Perhaps, then, this is because his music was making use of a more ‘natural’ system of harmony. Once again, to understand this, we must go all the way back to Pythagoras.
Pythagoras realised the connection between mathematics and music. He noticed that musical notes that sounded pleasing together had simple mathematical relations. A bell exactly half the size of another bell gives a note exactly an octave higher and so forth. For Pythagoras, mathematics was the very basis of all existence, it was something that existed naturally and was discovered by humans, not invented by them. Therefore, pleasing musical sounds were ones most in line with this natural order. Musicians, when composing pleasing music, are simply tapping into the natural mathematics of the universe, and discovering the harmony therein, this universal harmony that Pythagoras called ‘The Music Of The Spheres’.
Over the centuries following this discovery, musical theory developed, and was always based on these fundamental elements found in nature. When a note is played by an instrument, it actually generates many notes at once. The primary note that is played generates other notes, or overtones, and these all combine to produce the final sound. The overtones are always based on the original note in the same mathematical way, therefore the fundamental note plus its overtones constitute what is known as the ‘Harmonic Series’.
Say the fundamental note has a frequency of 100 Hz. The first overtone will be a tone with frequency 200Hz. This being double the original tone (a ratio of 2:1), it will sound exactly an octave higher than the first tone (just as Pythagoras said). The second overtone will have a frequency of 300 Hz. This is not double the first overtone, so won’t be another octave higher, but it does relate to the first overtone with a ratio of 3:2, a ratio which Pythagoras had noted produces the interval we call a fifth. While not quite as harmonious as an octave, the fifth still sounds very pleasing, very harmonious. The next, third overtone has a frequency of 400Hz. This is double the frequency of the first overtone, so will sound exactly an octave higher than that tone (and therefore two octaves higher than the original). But it also relates to the second overtone with a ratio of 4:3. This produces the interval known as a fourth. Slightly less pleasing that the fifth, but still quite nice. As we continue on with the harmonic series we get more and more overtones that have more and more complex mathematical relations. The more complex the ratio, the less pleasing the interval. Pleasing, harmonious music is that which is based on the simpler ratios, the more harmonious intervals.
Why are there twelve notes in the conventional octave? Traditional, diatonic music is based, primarily on the relations between notes that are a fifth apart. Other than the octave (which is the same note but higher, or lower), the fifth is the first interval produced by the harmonic series. If we start with the lowest A on a piano and play the note a fifth up from it, we play E. Then, continuing to add fifths, we get B, F#, C#, G#, D# (or Eb), Bb, F, C, G, D and then back to A (the very highest A on the piano). By going up in fifths until we get back to A, we have passed through twelve different notes, and these are the twelve notes that make up the conventional chromatic scale.
These chromatics notes, when played side by side, can often sound jarring, due to the more complex mathematical relations between them. But when anchored by notes with more simple relations (octaves, fifths and fourths) we can attain a more pleasing harmony. This is what was discovered over time by musicians, and culminated in the glorious harmony of the Baroque era, which itself culminated in the harmonic genius of Johann Sebastian Bach. Bach was easily the most mathematical composer of all time, and he fully and completely established a harmony that was able to cleverly use chromaticism but maintained harmony by anchoring it all down with fifths and other more basic intervals. Bach’s harmony ushered in the glorious era of classical music giving us Mozart and Beethoven before the romantics reached dizzying artistic heights in the 19th century.
Then, as has been said, everything got weird. Bach’s diatonic harmony was based on natural mathematical relations. Composers were still, as per Pythagoras, tapping in to the natural order when they composed their music. But, into the 20th century, composers started to get too big for their boots, trying to establish their own systems of harmony, of composition that bore less relation to the natural mathematical order, and became something far more ‘man-made’.
Beethoven had been tapping in to the pre-existing realm of mathematical perfection when he composed, rather than constraining himself with an artificial, man-made system like Schoenberg and others were now doing. Interestingly, Schoenberg thought he was freeing himself from the ‘dogmatism’ of diatonic harmony, yet he had done this with one fundamental misunderstanding. He had failed to realise that traditional harmony is the way that it is because it all comes from the natural order of mathematics, the one that Pythagoras discovered 2,500 years ago.
Schoenberg’s ‘man-made’ system of composition is just like the man-made systems of logic which mathematical philosophers were attempting to formalise at the same time before Gödel’s incompleteness theorems destroyed the idea. Just as these mathematicians failed to understand that mathematics was the arche of existence, Schoenberg and many other 20th century composers failed to understand that traditional musical harmony was a direct subjective experience of true mathematics, the arche of existence.
Going back to music, we can see the connections here. Diatonic harmony is the music that derives from natural mathematics. 20th century composers abandoned this in favour of artificial, man-made systems. This music, though it produced its masterpieces, has simply run its course. All the radical ideas have been explored, everything has been done. When, in 1952, John Cage composed his infamous 4:33, in which the performer sits in silence and that’s it, the musical world should have known that this era of avant-garde experimentalism was over. With Cage this music reached an abominable terminal point.
Being based on natural mathematics, diatonic harmony is not constraining at all, in fact, it is the gateway to infinite possibilities, as opposed to much 20th century music, which ran its course quite quickly and now produces nothing but the same old pseudo-intellectual nonsense over and over again.
Yet there were still some composers who kept clear of these man-made systems. Igor Stravinsky did in fact abandon traditional harmony in his epic ballet ‘The Rite of Spring’, yet he didn’t constrain himself with a man-made system like Schoenberg, and the music of this ballet, although lacking traditional harmonic elegance, ends up sounding very ‘natural’, an almost archetypal expression of primordial humanity. The other great Russian composer of the 20th century was Dmitri Shostakovich, who continued the older traditions of musical forms such as symphonies and string quartets composed mostly with diatonic harmony, yet his music towers above most other 20th century classical music in artistic majesty, whilst chronicling much of the horror of 20th century history.
Other art forms suffered in similar ways in the 20th century, descending into the chaos of avant-garde experimentalism, perhaps in response to the horror of much of the world events of the time, but also due to the general fracture of humanity after centuries of irrationalism and old world power. As part of the Hyperian revolution, art must be returned to the people, reflecting the natural order of existence, the archetypes of the collective unconscious which all can relate to.
Just imagine Beethoven, profoundly deaf, yet still managing to compose the most wondrous music, some of the greatest artistic achievements of all time. Where did this music come from? How was Beethoven able to hear it? It came from the infinite content of his own mind, which, like the whole universe, is merely an expression of the natural, mathematical order, just as Pythagoras said 2,500 years ago.
Brice Merci – Hyperian
Tags: Music
Hyperian History Of The World (20th Century, Part 5)
Hyperian History Of The World (20th Century, Part 5)
The fracture of humanity was greatly affecting both the arts and the academic world in the 20th century, but it was far more evident in the tumultuous political events of the time. The 19th century had seen a rise in nationalism in the nations of Europe. At the beginning of that century, both Germany and Italy were, as they had been for centuries, collections of smaller city states. By the end of the 19th century, both Italy and Germany had become single, unified nations.
Nationalism in Europe at the time led to each nation taking great pride in their history and culture, but also to each nation trying to outdo the others in terms of industry, economics, technology and, more ominously, weaponry. New weapons technology led to each nation attempting to make for itself the strongest, most powerful armed force that it could. Inevitably, this arms race would lead to war.
European nations had been perennially at war for centuries, but in the 20th century, partly due to these new weapons, warfare would become greater and more terrible than ever before, involving enough nations so as become known as ‘World Wars’.
The first world war began in 1914 when the tensions which had been building between the nations of Europe finally broke. Driven by national pride and eager to serve and defend their country, hundreds of thousands of soldiers were sent off to fight, yet this was the first major war to make use of the new weapons technologies, the effects of which would be terrible. Fighting in the trenches was simply a slaughterhouse, and the insignificance of the initial causes of the war only made the horror all the more senseless.
In 1917 Russia left the war in order to take care of events back home. The Russian Revolution of 1917 was really two revolutions. The first one, in February, saw the people rise up against the ruling Romanov dynasty, one of the old powers of Europe, leading to a confused state of affairs in which numerous factions tried to take control. This led to the second revolution, in October, which was more of a coup by the Bolshevik party led by Lenin. Eventually, inspired by the communism of Karl Marx, Russia and other countries became the Union of Soviet Socialist Republics firstly under Lenin and, after Lenin’s death, under Josef Stalin.
Meanwhile the first world war had ended and Germany, having lost, entered a period of almost poverty. The nationalistic spirit was still very much alive however, particularly in the younger nations of Germany and Italy. This led to the rise of fascism in both of these nations, firstly in Italy under Benito Mussolini, and secondly in Germany with the rise of National Socialism and Adolf Hitler.
Whilst the USSR had become a communist tyranny under Stalin (far from the utopian equality which Marx had imagined), Germany, under the Nazis, took nationalism to the extreme, with Hitler’s ideology being that the German people were the master race and all others were inferior, with particular attention being given to the Jews.
Hitler’s thirst for power (like that of Napoleon over a century earlier) eventually led to the second world war, which began in 1939. As Hitler attempted to control all of Europe and bring it under his control, he was resisted by the Soviet Union and the allied powers, whilst his allies, Japan, after attacking Pearl Harbour in 1941, launched a war in the pacific against the USA. Across the world, violence erupted, but the main war was between the conflicting ideologies of Hitler and Stalin and the fight between Germany and the Soviet Union took violence and horror to another level. The battle of Stalingrad, for example, lasted over five months and more than two million were killed.
Whilst all this was going on, Hitler was also taking his program of racial superiority to its horrifying conclusion. In the course of the war, some twelve million people, half of them Jews, were taken to concentration camps and slaughtered, in what is known as the Holocaust.
In 1945 the Soviets entered Berlin. Knowing that the game was up, Hitler committed suicide and the Nazi regime crumbled. The concentration camps were liberated and the war in Europe ended. Unfortunately, the war in the pacific continued, with the Japanese refusing to surrender. This caused the USA to take drastic action. The major advances in science, particularly in physics, hadn’t failed to be noticed by military forces, and the new science had led to the creation of the most terrible weapon of all, the atomic bomb. Knowing that the Nazis were working on something similar, leading scientists, including Einstein himself who, being Jewish, had fled Germany to the USA, convinced the US government to develop the weapon themselves before the Nazis did. Eventually, as the Japanese refused to stop fighting, President Harry S. Truman ordered the atomic bomb to be dropped on the Japanese city of Hiroshima, although not before dropping thousands of leaflets on the city from the sky informing the people what was about to happen. Nonetheless the city was destroyed and hundreds of thousands killed. Amazingly, the Japanese government still refused to surrender and the US dropped a second atomic bomb on Nagasaki. Finally the Japanese surrendered and the war came to a horrifying end.
Whilst Hitler had killed twelve million in the holocaust and millions more had died in the war, Stalin, who had won the war, wasn’t doing any better at home. His communist regime had become so extreme that any resistance was snuffed out immediately. It is not known exactly how many millions were killed by Stalin and something similar would happen in China, which also adopted communism under Mao. The theme of the century seemed to be mass slaughter.
The conflict of ideologies now led to the ‘Cold War’ between the USA and the USSR. Whilst the Soviets had communism, the USA had capitalism and democracy. No actual war was fought between these two powers, yet the whole world now lived under the constant threat of Nuclear War, with more and more nations developing these terrible weapons.
However, a better result of the cold war was the quest for both of these nations to outdo each other technologically. This was best represented by the ‘Space Race’. Despite the horror of the century’s events, humanity still achieved some wondrous things. In 1961, Soviet astronaut Yuri Gagarin became the first human being to travel into space. After this, US President Kennedy vowed to outdo the Soviets and land a man on the moon. Kennedy was assassinated in 1963, yet the program continued and, in 1969, Neil Armstrong walked upon the moon. This was a truly staggering achievement, one of the greatest human endeavours in history.
The USA had begun as a new power, yet had soon fallen under the sway of all the old powers. Both the USSR and the Nazis had been new powers, but the wrong people had ended up in charge. The success of the moon landing was the result of the right people being put in charge of it and the best, most intelligent and skilled individuals being utilised and their potential unleashed. Imagine a government that was entirely run in such a manner. What couldn’t we achieve?
The political turmoil of the 20th Century showed that humanity was growing tired of the old powers, yet they are still not gone. They have clung to power relentlessly and no new system has been the right one to overthrow them and heal the fracture of the world. But that new system is now here. Neil Armstrong walked on the moon, but we shall go further…
…to the stars.
Brice Merci – Hyperian
