In the graph, the 3 ages of art in the American cycle. As all other forms of art in all the other cycles of a civilization, the art of American film went from a first, epic, simple, energetic young age, a mature, realist, sensorial one, and finally a baroque, angst, violent time, which parallel the 3 ages of the electronic cycle of machines, the age of pioneers, reproducers and decadent weapon-makers.
The subconscious mind of history is the culture of the civilization. Thus their visual, art cycles show with more clarity than any other cultural form, the human transformations experienced in each age of the machine, because art and wor(l)ds are the eyes and brains of mankind. Industrial art shows in the press, full of racist, matter-of-fact statements against Africans in the I cycle, today against agricultural Islam, the soul of the ‘animetals’ that control history. The harsh life of the few pure ‘true artists’, ignored by the system, in a permanent state of angst, still able to produce the most beautiful works of the Human baroque, shows the potentiality of the human being, if animetals hadn’t won the battle of history. In that sense, the entire age of the Machine can be considered a baroque, informative, final age for all humanarts that enter a self-destructive process of ‘deconstructivism’, culminated by the simplification of formduring the—isms, which in the 20s completed the cycle of death of the Human Collective mind. ‘God is dead’ will say Nietzsche. Now, this book merely certifies it.
In the I Cycle artists lived the British decadent baroque, when Britain engages in global war; in the II Cycle, true art is created by the—isms, when the Nazis mass-produce tanks and bombs. It is the European baroque. Now global art lives the American baroque. In those 3 baroque ages art dissociates: Industrial art becomes fascist propaganda in favor of wars against the poor, considered ‘primitive’, ‘communists’, ‘terrorists’ and so on. While the work of the best artists accuses and criticises with ‘angst’ and irony the destruction of the world. If XIX c. newspapers talk about blacks in Africa as savages and XX c. Nazi Germans talk about Jews and Slavs as inferior species, today Fundamentalist Jewish-Americans talk about Islam as eviL.
While a few artists in those 3 ages and nations denounce the atrocities of war and the mass-media propaganda against other human beings, to justify ‘greed’ and murder. Today, we seem to accept XIX C. ‘British racism’ against ‘Negroes’ as a lesser evil than ‘German racism’ against European whites; and of course, our present mass-media considers ‘Jewish racism’ against Islam the ‘right way to think’, because our brains are manufactured by their fascist, industrial artists, as they were in the 20s by European fascists and in the XIX century by British and French-speaking fascists. Yet, in the unlikely even that the ethic wor(l)d of man resurrects and history survives the Singularity, truth will equal the 3 ages of industrial fascism.
In 1897, Belgians displayed Negroes in their International Exhibition in the same zoo they showed other Congo beasts. The exhibition was repeated in 1900 in Paris. It was, after the Eiffel Tower, the biggest attraction of the day. If any, objectively there is one difference between British Colonialists, German Nazis or the Jewish-American Military Industrial Complex, who prefers war to diplomatic solutions to Islamic ‘terrorism’: The Germans lost the war and their brains have been partially cured. British, French and Americans have not. So the same French, who believed in the ‘Grandeur’ of their racist Empire, now are building black holes one hundred meters under the Earth, in the ‘hell’ of CERN, to prove the absurd ideas of a retarded, childish scholar, ab=used by the British industry of misinformation to sell more magazines and books, as a sort of modern elephant man, who pretends that black holes are time machines and won’t follow the laws of Einstein and swallow this planet, right away.
Those ‘righteous’ worshippers of the machine have never been confronted with their cruelty in history, with their massacres of millions of human beings. They have never asked forgiveness for the bombings of Dresden and Nagasaki; and so now they merrily will commit suicide with their manufactured, childish brains, thinking it is ‘fun’ to invite the Tyrannosaurus Rex of the galaxy to our backyard. Cubs, with infantile brains, who think the Universe is ‘all play and no work’ come merrily to their predator’s mouth and die by the thousands, in a Darwinian Universe that loves to teach truth with death. And death will come to the righteous, as a just retribution for the death those empires caused upon the most beautiful cultures of the living Earth, during centuries of Imperial fascism.
Problem is that, since we are ‘elements’ of the ecosystem of History and Economics, it is very difficult to be objective on present facts, as we are bombed by modern industrial propaganda. So we think the fiction laws of Economics invented by the ‘expert financiers’ to rob us, are truth; and the fantasies about time, invented by Nuclear Physicists to ‘kill us’, are truth. And we despise, people like this writer, who despite knowing the laws of money better than any expert, a this book shows, have never robbed money; who despite knowing the laws of death in the Universe, has never killed, because precisely, fascist artists have taught us to despise those who talk the naked truth of the human wor(l)d, instead of imposing its ‘metal-truths’, with money, weapons and machines. But the justice of time will on due course prove with facts the parallelism of the 3 cycles. And when all is past, Disraeli & Leopold, Hitler & Stalin, Bush & Sharon, the leaders of the colonial, fascist and terrorist wars of the Go(l))d-Smyth culture against mankind, will become equalized, as the leaders of the eviL nations that tried to civilize the Life of the Wor(l)d . . . and destroyed it, when the action-reaction laws of the Universe delivered its answer.