by Neil Vodavzny

Because race is quintessentially tied to the sensual world – rural, resource-based – creative outsiders are also tied to that world. The aforementioned Harlan Ellison, R. Crumb, KT Tunstall, Tanita Tikaram (sci-fi fantasist, cartoonist, folk-rockers) in their disparate ways fantastically creative, originating works tangled-up in the fecundity of a natural cornucopia – erotic, psychedelic, mythopoeic. These types are for sure not enemies. For the reason they’re outside the mainstream they’re more likely to appeal temperamentally, not through any political affiliation, but from their antithesis to either/or, modernity/the Cartesian multiverse. That is folk, or pop-folk.

Their work exists in a folkloric world which we already know as quintessentially racial. To take Ellison’s case, ancient Egyptian or Babylonian gods. Crumb would be the blues lineage of classic Black shellacs. KT Tunstall interestingly is Irish/Chinese, Scottish operating in a Scottish folk idiom (Golden Frames, a typically enigmatic ditty, has something to do with fame and alien abduction). Tikaram is Fijian operating in an indie-folk milieu.

Environment and temperament are equally vital to race, for the reason that races don’t develop out of thin air. We are cavemen – I mean, Alan Moore  still is. Can you imagine him driving a car? Not quite 18th or 19th century enough. Those who instinctively recognize images of racial, temporal, folkloric origin, are friends in the sense their work supports the sensual world, which is the life-support of all God’s chillen – I mean, races.

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http://age-of-treason.com/data/audio/MRR_Guessedworker_Tanstaafl_20140529.mp3

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by Neil Vodavzny

If you check the reference in Competitive-Edge to J-L Godard, to him the erotic is a thing in itself, and which signifies value. To Freud the opposite is true, value signifies the erotic - Freudian-capital (libido applied to products). However, both of these guys are to a lesser or greater extent talking about capital, and Godard is rabidly anti-capital. Why not literally leave capital to one side?

Consider that the sensual world also needs must be anti-Freudian, since it is associated with praxis (production), or the source of all value. If you extract things from the world, say iron ore, they could become something else – capital or technology. Both of these could be related to techne in Heidegger’s sense; capital isn’t something abstract, it’s valued in coinage – metal – and gained precedence over the industrial revolution.

The language of libido and capital can’t be applied to a world of praxis. Praxis in Heidegger’s scheme cannot be completely divorced from the natural world. You could cite maybe ancient engineering feats: Roman aqueducts, city-states, large-scale irrigation works (pioneered in Babylonia) etc. They relate to landscape, terrain, water-tables and natural features of all types (same for a boat on water).

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The polls are open.  Today, the electorates of all the member states of the EU will elect their 751 members of the talking-shop which is the European Parliament.  The performance of Front National, Golden Dawn, Jobbik, Vlaams Belang, and Gert Wilders’ Freedom Party, among others, will create much interest for nationalists.  In Britain, too, the politics of dissent is the chief talking point of an increasingly desperate and totally unprincipled press.  There is a sense that the electorate has handled the smears maturely and, by and large, has not been swayed.  The pollsters report a settled feeling that, in England, at least, something big is about to happen.

Something so big, in fact, that I thought I might jot down some observations together with a very few markers for how we might assess it:

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by Neil Vodavzny

To challenge the mainstream, an alternative of the Right needs a competitive-edge, batting from roughly the same ballpark as DanielS here:

I don’t have to tell you that racial identification can be catastrophic. Those who have sought to ward-off that bias have held sway since World War II. Now we have thorough proof that anti-racism can be equally genocidal. Our task is a tricky one - to reconstruct genetic identity which does not lead to fratricidal identifications, nor unnecessary conflict with other races, but symbiosis. I believe that one of the greatest ontico-epistemic obstacles to that achievement is the overvaluation of competition and its corollary, the stupid right-wing focus on inequality as a “healthy” fact of ordinary, everyday human life. This would be in contrast to observation of pervasive cooperation in human, social scaled patterns, the analysis of which would model and provide for fair treatment of human capital as warranted in its historical breadth.

I have to say, though, that generalised observations only go so far. In terms of creativity and talent no political creed, let alone philosophy, can be subordinated to race. Rather, philosophy is the determination of principles which may well contain racial elements. Two examples are J-L Godard’s linking of “text” to Jewish film-makers, and Heidegger’s of racial calculation. To willynilly apply racial criteria over creative industries is unhelpful at best, particularly when you consider artists almost by nature tend to be outsiders from the mainstream (if they’re good). The only criteria of art should be how it affects you – having no conscious control over it.

The French have a quite Gallically correct attitude: know your subject. “I feel good” instantly elicits a James Brown moment, Jew’s harp Stevie Wonder, a throbbing guitar riff White Stripes’ 7 Nation Army. It’s just not about race per se, it’s navigating genres and just being cool. Blacks are cool if you like the right music. The fantastic negativity of contemporary hip-hop is for sure noteworthy so, OK, I’ll note it.

The corollary is, what is bad art? which is much more to the point. Then one can bring-in the liberal scientism of art, such as the aforementioned Maus (Spiegelman) where subjective criteria are laid aside in the insistence on experimental validity of second-hand observations. By subjective, I mean emotive force etc. Anyway, this is getting a bit far off the point. Being entertainment, sci-fi writers are either good or bad, not Jew or gentile. The best way to attempt to inaugurate a competitive-edge (to the Right) is to elucidate principles and see where it leads.

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