A Conflict of Aesthetics
By Bogdan Zadorozhny
The slow but steady march of the Cultural Marxists through the educational, cultural, and artistic communities has been taking place since the 1950s. This group has been exceedingly careful in pursuing their aim of systematically destroying and dismantling Western society. Had they come out with their present agenda when they started approximately seven decades ago, they would have been unlikely to succeed; instead, they slowly advanced and took over the vital cultural institutions of the West, advocating for increasingly extreme positions as they continued to gain ground. What started as seemingly innocuous policies that were allegedly aimed at the inclusion and the advancement of dispossessed collectives such as the homosexuals, women, and various cultural minorities has transformed into the promotion of transvestism for children, into advancing women’s interests at the cost of the rights of men as evidenced by the neo-McCarthyistic movement known as #MeToo, and into a wholesale replacement of Western populations through open border policies.
It is becoming increasingly apparent that we are nearing the time of the culmination of a great conflict that has been building up for a number of decades. It is undeniable that America is as divided as ever. Right-wing individuals are being mobbed, stalked by gangs of Antifa clad in black masks, and physically attacked. We are being doxed, fired, and banned for expressing our beliefs. Small wonder then that the tensions between the two opposing political sides are reaching a melting point.
However, the present atmosphere is merely a byproduct of a deeper and more significant divide and viewing the present conflict between these factions as just a battle between the left and the right would be a surface-level interpretation. On the contrary, the current struggle is much more significant and encompasses far more than political beliefs. The political conflict that is currently taking place on the streets of the world stems from a fundamental difference in individual perspectives, it is an all-out war between the truth and the lies, between the beautiful and the ugly, between degeneracy and true art. As was famously stated by the late Andrew Breitbart, “politics is downstream from culture.” Therefore, the contemporary political schism that we observe both within the United States and the Western world as a whole should be analyzed in the context of the correlated cultural contrast between two ideological camps.
In regard to the struggle between truth and lies, the current state of the world is one in which telling certain truths is not only frowned upon but is actively opposed. There is an ever-expanding number of subjects for which discussion is prohibited. Those who are opposed to the truth can be readily identified by their characteristic and wholesale avoidance of topics. Instead of trying to debate opposing viewpoints, the adherents of this ideology fear and flee open discussion while declaring any commitment to free speech as an alleged dog-whistle to bigots and extremists. The reason for this is quite simple. These opponents of the truth are aware that their arguments are substandard and if they were fairly compared with the arguments of their opponents, they would be exposed as hollow, empty, and false. Therefore, in order to avoid such a defeat, they instead continually add to the list of topics that cannot be discussed. As a matter of fact, in many Western nations, with the notable exception of America for the time being, there are a variety of subjects that are outright illegal to discuss. For instance, in Canada, criticism of Islam is against the law, as is ‘misgendering’ individuals as well as talking about a whole slew of protected minorities. It seems that nearly every group of individuals is destined to become a protected class which cannot be challenged, with the notable and conspicuous exception of Europeans.
Naturally, however, not all people are so easily silenced. There is a significant subset of individuals which despite threats to their livelihood, to their life, and to their very liberty are still not buoyed by these significant deterrents. These people are correctly regarded as dangerous by the opposition, because this group of dissenting dissidents cannot be silenced. For this reason, this minority is actively targeted and hunted both in-person and across the Internet, with high profile commentators finding mobs outside their homes and with scores of wrong-thinkers being banned from seemingly every mainstream platform. The net result of this is the opposite of a desirable outcome for the enemies of the truth. Rather than successfully silencing these surviving adherents of critical thought, the outcome of their actions is that these free-thinkers are being corralled together on platforms that refuse to follow the official protocol of shutting down free speech, such as Gab, 8chan, and Voat. The consequence is that these exiles band together, form communities, and become even more outspoken. The common sentiment among these people that have been repeatedly deemed personae non gratae and ostracized from mainstream communities is that “the more they ban us and try to shut us up, the more determined we become to speak the truth.”
There is a similar ongoing battle taking place between the beautiful and the ugly. Whereas just a few decades ago, models were objectively beautiful people of idealistic proportions that served as an inspiration to others, today that former group is being increasingly supplanted with monstrous, disgusting abominations. Instead of promoting healthy and aspirational ideals, the modern models are all too often obese, transgendered, or physically defective. As those advancing this replacement will surely argue, this is done in order to encourage diversity and to reassure the groups of people that have been historically looked down upon. It is clear to the unbiased eye that this is rather a transparent attempt to corrupt average people and indoctrinate them into their cult celebrating the grotesque. Whereas there was widespread outcry from the mainstream media when teen girls were allegedly tricked into unhealthy eating habits through seeing beautiful and thin women in their magazines, those screams have turned into silence now that the same magazine covers feature ever unhealthier overweight and obese women. As the iconic Karl Lagerfeld once put it, “these are fat mummies sitting with their bags of crisps in front of the television, saying that thin models are ugly."
It is obvious that the campaign propagandizing and normalizing obese models was never about trying to resolve some sort of imaginary health crisis, but rather was designed and developed in order to encourage fat acceptance and worse, transvestitism. Appallingly, the children growing up today are being subjected from all sides to harmful messages that are being advanced by the mainstream media and these proponents of ugliness that lead to awful outcomes including an accelerating epidemic of childhood obesity and the highest rate of gender confusion among young people that has ever been recorded. This latter shocking fact is a direct consequence of the educational systems that teach young children that being homosexual or transgender is great, progressive, and a cause for celebration. Equally complicit are the media conglomerates that promote and glamorize transvestites. In other words, it is no accident that this is the consequence given that this was their aim all along.
Aside from the modeling industry and the mainstream media, the powerful advocates for ugliness have also succeeded at thoroughly penetrating the world of art. Whereas disgusting, degenerate, and meaningless art has always existed in some circles, with small groups of cult followers that pronounced this type of creation as the greatest, it has never before been as widely promoted and accepted by the mainstream. As in the aforementioned cases, this is once again the result of a long, concerted effort to achieve this outcome. To achieve their aim, the advocates of anti-art have been taking over artistic and academic institutions for over half a century. The result of this is that in virtually all the various fields of art from the performing arts, to the visual arts, and even through to the applied arts, the active and well-connected conspiracy of ugliness cultists has taken over.
In the world of the performing arts, the mainstream music that is actively popularized and promoted showcases lyrics that encourage delinquency, promiscuity, and violence. It is indubitably partially due to this that the inner cities of America continue to be plagued with murder, drug use, and general criminality. If one compares and contrasts the music that is played on the radio today to the music that was promoted and publicly available just a few decades ago, one would be shocked by the contrast in content. The songs that are presently played on repeat on the radio would have been outright banned from broadcast and distribution in the past. Meanwhile, the theater productions that are being put on would likewise be rightfully considered unacceptable and obscene by previous generations. If one made the questionable decision to venture to a performance today, it would not be surprising if one encountered such highly artistic performances as nude women pushing eggs of paint out of their orifices, acts of defecation, and depraved sexual displays. When such things are not only out there but are actively being advertised to the general public as progressive, interesting, and exciting, it hardly seems like a great exaggeration to see this as direct evidence of the fall of a civilization.
Similar events are taking place in the field of visual arts. Whereas it was once the case that paintings and sculptures served as beautiful examples for the general public to be inspired by, the present visual art scene is filled with meaningless contemporary art on one hand and with downright depraved degeneracy on the other. In place of the truly meaningful, the art that is promoted today is in the style of Basquiat – ugly, provocative, and shocking. As previously noted, the purveyors of this material are aware that it cannot hope to appear respectable when contrasted with truly aesthetically alluring and rousing pieces of art and so consequently, they are actively attempting to destroy and defame the other works. This is the reason that they call classic works of European art irrelevant, boring, or when all else fails, racist. They are afraid that the common person could be inspired by such works and be effectively awakened to what is happening and therefore they engage in a propaganda campaign of massive proportions on all fronts, extending even to the literal tearing down of statues.
Their efforts even extend to the applied arts. The modern city is composed of hideous, identical boxy buildings that are indistinguishable and resemble the preferred Brutalist architecture of the Soviet Union. For the average person who lives in such communities, this is somewhat difficult to notice given that they rarely see or experience anything different. However, when one travels to cities and towns which still have significant surviving blocks of old buildings, the disparity is truly astonishing, particularly in the City of Montreal, where the contrast between the infamous “Habitat 67” and the magnificent and elegant buildings of the historical district astounds native residents and tourist alike.
When one considers all this, it is easy to feel discouraged about the current state of the culture war, a struggle that is seemingly being lost unopposed to these enemies of the beautiful. However, such a depressed outlook is not entirely accurate. It should be noted that some individuals are working in these fields and are engaging in battle against this prevailing trend. However, it is an unfortunate fact that this group of people is the tiny minority for the time being and are generally disconnected from both their artistic communities and the general right-wing circle. Among the various theatres of war that exist within the artistic field, one of the rare significant victories is taking place in the comics community. The right has successfully countered the enemy’s assault on this front and are in fact currently triumphing over the mainstream. If the right continues to stand together, to support these brave cultural warriors, and most importantly, continues to form cohesive and well-structured communities of their own in opposition to those run by the prevailing left, those victories in the cultural context are sure to also be achievable on the individual fronts of other artistic forms.
Taken as a whole, the general battle taking place today is between the people who desire, for whatever insidious reason, to make the world entirely homogeneous and depraved and the people who do not wish for such a new world order to come about. Ironically, it is this latter group of people that expressly wishes to preserve the differences between the different groups of people that is accused of racism. However, that too can be recognized as a common tactic of the opposing side. Namely, they tend to favor the strategy of accusing the other side of the very thing that they are themselves guilty. To an independent mind, the righteous side is obvious when one contrasts the people that want to destroy individual cultures through forced mixing and those that want to preserve the differences between the different groups.
The sign of hope in this context is the evidence that shows that the current situation is unsustainable. Around the world, examples abound that conclusively demonstrate that people are being driven to madness from being forced to live in the currently ubiquitous multicultural societies. The claim that all who live in multicultural communities support and wish to live in such places is exceedingly naïve. It is a matter of simple fact that it is only the extremely wealthy that can afford to live wherever they wish to, and as the evidence shows, these people have indeed largely fled to enclaves far removed from the multinational cities of the world. The fact that it is these very people who often promote the idea of diversity being a strength is both ironic and unsurprising. After all, these individuals get to virtue signal with their self-proclaimed progressiveness while experiencing none of the downsides that diversity actually brings.
Without a doubt, present-day Westerners are extremely divided along social, economic, and political lines. That is a great shame and it is absolutely vital that Westerners focus on their common problems and common issues rather than focusing on the things that separate them. Thankfully, this is starting to take place as evidenced by the emerging ties developing across social and economic boundaries and the connections that are starting to appear between some subsets of the left and the right. It certainly seems that the world is currently positioned on the precipice of a great change, whether for the better or for the worse.
We cannot be afraid to dare to think differently and to speak our mind. It is virtually guaranteed that doing so will be met with repercussions and attacks, but the cultural and political war is about to reach its crescendo. Given this, the perspective that one ought to adopt is that of the Viking berserker warrior. If we are indeed doomed to lose and our enemies are destined to prevail, we might as well risk it all. If we are fated to win, then there is no point in being afraid. We must take full responsibility for the future that our children will inherit. Whether they are left a hopeless world of identical ugliness or a world in which unique beauty is preserved is entirely dependent on the actions we take now.
is a writer, influencer, & provocateur. He has worked in marketing and has invested in various start-up ventures in Canada since 2013. He holds a bachelor’s degree in psychology & philosophy from Wilfrid Laurier University. Born in Moscow, he is fluent in Russian & French. He currently resides just outside Toronto.