• MARXISM, THE FRANKFURT SCHOOL, COMMUNISM IN AMERICA (CRITICAL THEORY) - https://www.bitchute.com/video/aKY37YWg4Spw/
    MARXISM, THE FRANKFURT SCHOOL, COMMUNISM IN AMERICA (CRITICAL THEORY) - https://www.bitchute.com/video/aKY37YWg4Spw/
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  • DeSantis: ‘I Reject Socialism Outright. I Reject Marxism, Leninism, Communism, Any Of These -isms’
    DeSantis: ‘I Reject Socialism Outright. I Reject Marxism, Leninism, Communism, Any Of These -isms’
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  • https://world-signals.com/news/2022/04/03/in-australia-politicians-talk-about-communism-imposed-by-the-wef/
    #klausschwab #schwab #wef #australia #politics #communist #greatreset #freedom #freespeech
    https://world-signals.com/news/2022/04/03/in-australia-politicians-talk-about-communism-imposed-by-the-wef/ #klausschwab #schwab #wef #australia #politics #communist #greatreset #freedom #freespeech
    In Australia, politicians talk about communism imposed by the WEF
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  • Marxists first thought that capitalism leaves workers destitute; once it became clear that capitalism enriches all classes, the Marxists had to change their minds and decide that these riches are actually bad.

    Marcuse (1898-1979) feels that Western culture is inherently repressive and must be replaced. He refers to “surplus-repression” as that which goes beyond the normal inhibitions necessary for societies [...] His discerning reader may wonder whether it was truly those dashed industrialists who brought about norms of how one ought to behave in public. Did such things not exist in preindustrial societies, too? (Of course they did.)

    The Frankfurt School of social theory began about a century ago, in the Weimar Republic. It consisted in the main of a group of rather anti-capitalist, Marxist-light gentlemen who embraced oikophobia (the hatred or dislike of one’s own cultural home), and who were understandably disillusioned by the carnage of World War I.

    The Frankfurt School popularized historicism—the belief that reflection itself is a part of history, which is to say that earlier thoughts are historically conditioned by the circumstances in which the thinkers lived, and should be seen in that light; and that what passes for “knowledge” is marred by the historical time and place in which that knowledge appeared. (This idea was present already in the second part of The Communist Manifesto.) The insights that a more positivist outlook claims to be certain, based on sensory data, historicism will consider uncertain and necessarily bound by subjective value judgments. A part of this view is the concern—and the French postmodernists will pick up this point—to identify, isolate, and thereby exorcise every sort of domination that any group might have held over any other group.

    With the rise of Nazism in Germany, many Frankfurt scholars moved to New York, and thereby gained a broader audience of impressionable college students.

    They wanted to find the particular reasons why someone in the past had thought in a particular way, reasons that were to be found mainly in external factors. Essentially, the Frankfurt School endeavored to establish a “value-free” social science, that is, the erasure of any sort of prejudice among philosophers and sociologists. Since Western civilization was monomaniacally seen as the history of dominations by various groups over one another—which meant that individual actors had to be viewed as purely nefarious oppressors—it followed quite naturally that much of the West was ready for the garbage heap.

    Drawing on Freud, [Marcuse] also maintains, similarly, that reproduction, and hence the familial structure, is a socially enforced by-product of sexuality, whose primary function is actually the attainment of pleasure (chapter two). Here, I can only bear witness to how far philosophy has fallen from Plato’s Symposium, the text that truly understood what sex is; it is itself an expression of sexual repression to suggest that our desire for sexual pleasure is entirely unrelated to the drive toward self-replication.

    Marcuse’s work commits the standard error of rejecting Nietzsche’s and Freud’s entirely correct understanding that a considerable measure of repression is required for all human civilization, no matter where or when it may arise. And so Marcuse, in discarding the possible for the impossible, thereby lets the perfect be the enemy of the good, rather than its inspirer.

    Marcuse has difficulty accepting the fact that we no longer live among the dark satanic mills of the early Industrial Revolution, since he feels the need to make up new problems instead. He says in the introduction that “intensified progress seems to be bound up with intensified unfreedom,” which is the exact opposite of the truth. In fact, repression generally decreases as civilizations age, because they move away from the most extreme patriarchal forms, and because with increased strength they have more room for maneuver and for social deviation.

    Marcuse celebrates the arts as a denunciation of repression and social reality, which again gets it backwards, for most instances: It is, on the contrary, the very decline of tradition and the decrease of repression that make the arts assume such an antagonistic role. (Compare the situation with the quite domesticated arts under the far more repressive reign of Louis XIV, for example.)

    That is to say, modern arts are not rebelliously heroic, but rather spoiled elements that, through a lack of repression, are as frivolously antagonistic as they please. That in itself is fine, but it means that they do not stand against the social order at all, contrary to what their creators and Marcuse would like to believe, but are, precisely, a confirmation thereof. Modern art is what it is because society lets it, and has stopped caring about it.

    You will not find too many postmodernists among the victorious hordes. In the twentieth century, the question of whether the West might not be such a good idea after all was a question asked first by those who drew the shortest straw.

    Their historicism, that ideas are to be viewed as products of their socio­historical environment, has been enormously influential, but can also be dispensed with. As I and others have never tired of pointing out to historicist colleagues in academia, this charge of historical conditioning that they level at previous eras is itself a child of its time, to be levelled at those who level it at others.

    One can say about the Frankfurt School what is later to be said of the French postmodernists, namely that they are mostly wrong; and that in the instances where they are right, they are really just belaboring the utterly obvious.

    [Nice article and mostly agreeable imo, the above are only out-of-order excerpts from it and I suggest a full read. If one is interested in Sociology: try C. Wright Mills and leave most of the rest of Sociology aside. As I've become fond of saying: "Post-modernism is a virus of the mind and soul". ]

    https://quillette.com/2022/03/02/herbert-marcuse/
    #education #marcuse #modernity #postmodernism #communism #socialism #frankfurtSchool
    Marxists first thought that capitalism leaves workers destitute; once it became clear that capitalism enriches all classes, the Marxists had to change their minds and decide that these riches are actually bad. Marcuse (1898-1979) feels that Western culture is inherently repressive and must be replaced. He refers to “surplus-repression” as that which goes beyond the normal inhibitions necessary for societies [...] His discerning reader may wonder whether it was truly those dashed industrialists who brought about norms of how one ought to behave in public. Did such things not exist in preindustrial societies, too? (Of course they did.) The Frankfurt School of social theory began about a century ago, in the Weimar Republic. It consisted in the main of a group of rather anti-capitalist, Marxist-light gentlemen who embraced oikophobia (the hatred or dislike of one’s own cultural home), and who were understandably disillusioned by the carnage of World War I. The Frankfurt School popularized historicism—the belief that reflection itself is a part of history, which is to say that earlier thoughts are historically conditioned by the circumstances in which the thinkers lived, and should be seen in that light; and that what passes for “knowledge” is marred by the historical time and place in which that knowledge appeared. (This idea was present already in the second part of The Communist Manifesto.) The insights that a more positivist outlook claims to be certain, based on sensory data, historicism will consider uncertain and necessarily bound by subjective value judgments. A part of this view is the concern—and the French postmodernists will pick up this point—to identify, isolate, and thereby exorcise every sort of domination that any group might have held over any other group. With the rise of Nazism in Germany, many Frankfurt scholars moved to New York, and thereby gained a broader audience of impressionable college students. They wanted to find the particular reasons why someone in the past had thought in a particular way, reasons that were to be found mainly in external factors. Essentially, the Frankfurt School endeavored to establish a “value-free” social science, that is, the erasure of any sort of prejudice among philosophers and sociologists. Since Western civilization was monomaniacally seen as the history of dominations by various groups over one another—which meant that individual actors had to be viewed as purely nefarious oppressors—it followed quite naturally that much of the West was ready for the garbage heap. Drawing on Freud, [Marcuse] also maintains, similarly, that reproduction, and hence the familial structure, is a socially enforced by-product of sexuality, whose primary function is actually the attainment of pleasure (chapter two). Here, I can only bear witness to how far philosophy has fallen from Plato’s Symposium, the text that truly understood what sex is; it is itself an expression of sexual repression to suggest that our desire for sexual pleasure is entirely unrelated to the drive toward self-replication. Marcuse’s work commits the standard error of rejecting Nietzsche’s and Freud’s entirely correct understanding that a considerable measure of repression is required for all human civilization, no matter where or when it may arise. And so Marcuse, in discarding the possible for the impossible, thereby lets the perfect be the enemy of the good, rather than its inspirer. Marcuse has difficulty accepting the fact that we no longer live among the dark satanic mills of the early Industrial Revolution, since he feels the need to make up new problems instead. He says in the introduction that “intensified progress seems to be bound up with intensified unfreedom,” which is the exact opposite of the truth. In fact, repression generally decreases as civilizations age, because they move away from the most extreme patriarchal forms, and because with increased strength they have more room for maneuver and for social deviation. Marcuse celebrates the arts as a denunciation of repression and social reality, which again gets it backwards, for most instances: It is, on the contrary, the very decline of tradition and the decrease of repression that make the arts assume such an antagonistic role. (Compare the situation with the quite domesticated arts under the far more repressive reign of Louis XIV, for example.) That is to say, modern arts are not rebelliously heroic, but rather spoiled elements that, through a lack of repression, are as frivolously antagonistic as they please. That in itself is fine, but it means that they do not stand against the social order at all, contrary to what their creators and Marcuse would like to believe, but are, precisely, a confirmation thereof. Modern art is what it is because society lets it, and has stopped caring about it. You will not find too many postmodernists among the victorious hordes. In the twentieth century, the question of whether the West might not be such a good idea after all was a question asked first by those who drew the shortest straw. Their historicism, that ideas are to be viewed as products of their socio­historical environment, has been enormously influential, but can also be dispensed with. As I and others have never tired of pointing out to historicist colleagues in academia, this charge of historical conditioning that they level at previous eras is itself a child of its time, to be levelled at those who level it at others. One can say about the Frankfurt School what is later to be said of the French postmodernists, namely that they are mostly wrong; and that in the instances where they are right, they are really just belaboring the utterly obvious. [Nice article and mostly agreeable imo, the above are only out-of-order excerpts from it and I suggest a full read. If one is interested in Sociology: try C. Wright Mills and leave most of the rest of Sociology aside. As I've become fond of saying: "Post-modernism is a virus of the mind and soul". ] https://quillette.com/2022/03/02/herbert-marcuse/ #education #marcuse #modernity #postmodernism #communism #socialism #frankfurtSchool
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  • https://world-signals.com/news/2022/02/23/another-city-blocked-in-china-people-are-begging-for-food-others-are-building-camps/
    #news #covid #covid19 #ccp #communism #china #politics #lockdown
    https://world-signals.com/news/2022/02/23/another-city-blocked-in-china-people-are-begging-for-food-others-are-building-camps/ #news #covid #covid19 #ccp #communism #china #politics #lockdown
    Another city blocked in China, people are begging for food, others are building camps
    1
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  • https://world-signals.com/news/2022/01/28/sick-chinese-about-the-virus-continue-to-surpass-even-the-wildest-imaginations/
    #news #covid #covid19 #pcr #pcrtest #animals #birds #terror #communism #ccp #ccpvirus
    https://world-signals.com/news/2022/01/28/sick-chinese-about-the-virus-continue-to-surpass-even-the-wildest-imaginations/ #news #covid #covid19 #pcr #pcrtest #animals #birds #terror #communism #ccp #ccpvirus
    Sick Chinese about the virus continue to surpass even the wildest imaginations
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