Salon Iconoclasts
We deepen the exploration of the iconoclastic phenomenon with the examination «Salon iconoclasts: case  studies and human cases». What happens when those who are supposed to guard the culture strive to destroy it?
Part I
«Every record has been destroyed or falsified, every book rewritten, every picture has been repainted, every statue and street building has been renamed, every date has been altered. And the process is continuing day by day and minute by minute. History has stopped. Nothing exists except an endless present in which the Party is always right.»
George Orwell
diamond black
Your Honor, here is the evidence for the prosecution.
I only specify that it is a random sample, made up of contents accidentally appeared under my gaze.
Specimen n.1  - “archeo-know-it-all”
The archaeologist (intentional lowercase) and PhD candidate inciting and justifying vandalism.
Mr. Dibble is at the beginning (h-index=1), and we know it, publish or perish etc. Let's see what he writes...

Specimen n.2 - Freudian egyptology
The egyptologist (intentional lowercase) who instructs on how to tire down obelisks (not the ancient Egyptian ones eh, only the iRacist™ ones - carefully selected by the raging mob). Recall that, according to ancient Egyptian mythology, the obelisk represents... the only part of Osiris' body that his mother Isis was unable to recover. Something comes to mind —bread for psychologists— reading about all this rhytmically shattering the obelisk here and there and finally tear it down.

Specimen n.3 - Museum Wounder
This museum "curator" Madeline Odent tried to delete the thread on Twitter and the whole Internet, but thanks to my powerful means I still managed to recover it. The police also went to ask her a couple of questions concerning the use of the Art of Restoration in the Dark Side of the Force. In fact, this evil nitwit gave indications on how to cause a corrosive chemical reaction on copper-based alloys, such as the bronze of statues. Museum curator. And here is the answer to the question that no one has ever asked, on why I am not a museum curator!
oldenoughtosay iconoclasta1
oldenoughtosay iconoclasta2
oldenoughtosay iconoclasta3
oldenoughtosay iconoclasta4
oldenoughtosay iconoclasta5
Specimen n.4 - «Are you architect or politician?» (quote)
I could not exempt to focus with particular attention on the category of architects. It seems that we've unearthed a nest of vipers, which proves to be a promising path for in-depth study in terms of the political use of Architecture and psychiatric treatments for monomanic disorders. We observe this architecture professor (intentionally lowercase) who dreams of molding the minds of her students about the «white supremacist classic columns» (obviously the white Modernist is exempt from criticism, as much as Zulu slavery is exempted from iconoclastic fury. an important clue!) The tweet is then canceled, as this is the practice of every lionheart.
Because the forma mentis is exemplified by the next tweet. Here we were talking about a proposal regarding the style of federal buildings in the United States. According to this guy —with the tag of the American Institute of Architects!— if it's not Modernist architecture, then it's «Catholic architecture» (which is actually a set of typologies, not a style! Good job, "colleague"). And who makes Classical architecture (excuse me, "Catholic") must necessarily be «a Scout» (??) and must have «a Hitler altar in the bedroom closet» What if one doesn't have it? What if he was never a Scout? Something against Scouts, dude!? Ah, the disadvantages of basing the whole argument on throwing big pieces of cr~ around (bare handed). Who knows if this guy, all a lot of talk and an AIA badge, is able to argue better? We will never know because he blocks everyone.

Specimen n.5 - Sic Transit Gloria Mundi
Final treat: the English Literature teacher in Cambridge. There's no need for comment.
Important Professor of English Literature at Cambridge:
cambridge racist
The University's response to the polemics raised by the tweet:
cambridge answer
I've got just a quesiton for you, madame, why the f~ did you study ENGLISH LITERATURE if you hate so much "the whites"?
But Cambridge...a nice uni. Send your sons there.
Let's try to sketch up the attitude of these characters. The following aspects catch my eye:
  1. «As a specialist in X (iScience™) in Truth, in Truth I tell you:»
  2. Some artifacts «have racism ™ and supremacism in them». I'll tell you how to destroy them, but —prehemptive legal disclaimer— I'm not encouraging you to do it! Who, me?
  3. Hammer easy, it has always happened, it's normal!
  4. Everything Western is to be abolished. Don't you agree? Fascist.
And for this I seem to glimpse the following underlying ideological structure:
  1.  An artifact or even an art movement has intrinsic moral qualities;
  2. "Society" (i.e. ME) decides what is worthy and what is not;
  3. Obliterating the heritage is legitimate and normal;
  4. "Creative" destruction to find new heroes and values ​​to celebrate;
  5. Through the rewriting of History, avenge «the abuses suffered by hand of the white race and/or iColonization™» -indecision- and this is being told by the white élite (only "Mrs. Bhopal" here in this examination is not).
This globalist and politically correct intelligentsia in words, while declaring that it wants to "protect diversity" does not tolerate them in fact, rather it obliterates them in persecuting any speck of dust that may irritate the childish souls of iGoodOnes™, carrying out a rewriting and deformation operation of multiple branches of Knowledge justified with the crusade for justice —which, curiously, leaves out all key issues such as distribution of wealth, wages and welfare, but focuses on everything that is physical expression of the symbolic, cultural and abstract.
Methodological note: alternating current
The fact that the theme of slavery is used to criticize Western Culture, while it passes smoothly and peacefully unnoticed that in the past all —and I mean all— cultures practiced it, if they could, makes me raise an eybrow... Doubts increase when you notice a Pavlovian reaction to different and co-present cultural phenomena such as an architectural or artistic style and historical events, making them a voodoo puppet full of guilts to be destroyed in order to be purged.
Curiously, these arbitrary and truly anti-logical associations are carried out only and only against Western and European culture as a whole, including races (nice move for those who proclaim themselves anti-racist...). For this reason, it is reasonable to suspect that it is a coordinated attack from above, by a good chunk of academic intellectuals, who take iRacism™, and iOppression™, and iSlavery™, and many other iProducts™ of the global garbage narration only as pretexts, and puppet the useful idiots who fall for it. To do what? And let's leave modern slavery alone, as it obviously doesn't matter! Jeff Bezos Electronic Bracelet? Rare Earth mines for "green technologies"? Nah, don't you know how much iRacist™ Karl Marx was? How Emperor Constantine was an enslaver? (hey, you forgot Ashurbanipal! Tutmosis III? Tupac Yupanqui...?)
Tesla is shopping Cobalt in Congo: 6000 t/year for 2 new Gigafactories

It is irrelevant to remind the werewolf (or weresheeps?) in the squares what will remain of them when the useful aspect of useful idiots will be exhausted (I presume after that Trump won't be reelected); and it is trivial to predict the end of these freak "professors". In some time they will have some surprises with their rethoric, since the majority of these iExperts™ are ...whites and westerners! Something tells me that they will make the cry like some journalists of my knowledge who preached "more market" for others, until they too have had it and lost their jobs. Do not feel bad about it if they lose their positions through their own medicine.

Let's repeat it for those whose head is hard as a rock: it is not that here we are advocating conservatism, the freezing of time and space, or reaction. It is simply saying that what they are doing is wrong, foolish and very dangerous. I would say isomorphic to the Nazis' reasoning regarding the so-called Entartete Kunst, degenerate art.
If someone agrees with the political principles manifested by this "movement" AND has enough brain to understand the point we are making now, they will also understand that the method followed betrays other aims and will structurally fail to meet the "official objectives" broadcasted to all networks by the Mainstream. Therefore, if greater regard is given to these aims, one will strive to find a more respectful and democratic method of achieving them. If, on the other hand, someone tries to crush any opposition using the violence of the square and the formatting of Culture, to pursue the true goals like a steam roller, then we have nothing left –we who reason independently– but to dissociate ourselves from this, and associate in a movement of resistance and protection of the Heritage, without "ifs" and without "buts", because Culture has no political color. Do these forces exist in society? Is there still anyone who cares?
An excerpt from «Heretics», by G.K. Chesterton, follows:
«Suppose that a great commotion arises in the street about something, let us say a lamp-post, which many influential persons desire to pull down. A grey-clad monk, who is the spirit of the Middle Ages, is approached upon the matter, and begins to say, in the arid manner of the Schoolmen, "Let us first of all consider, my brethren, the value of Light. If Light be in itself good--" At this point he is somewhat excusably knocked down. All the people make a rush for the lamp-post, the lamp-post is down in ten minutes, and they go about congratulating each other on their unmediaeval practicality. But as things go on they do not work out so easily. Some people have pulled the lamp-post down because they wanted the electric light; some because they wanted old iron; some because they wanted darkness, because their deeds were evil. Some thought it not enough of a lamp-post, some too much; some acted because they wanted to smash municipal machinery; some because they wanted to smash something. And there is war in the night, no man knowing whom he strikes. So, gradually and inevitably, to-day, to-morrow, or the next day, there comes back the conviction that the monk was right after all, and that all depends on what is the philosophy of Light. Only what we might have discussed under the gas-lamp, we now must discuss in the dark.».
—G.K. Chesterton - Heretics, 1905—
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Posted: 06/07/2020 09:59 — Author(s): Polemicarc


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