Myth and Symbol Language Part II: Art and Religion are State Projects

Doubtlessly, in the future, Art and Religion must be state produced in the service of the Aryan race, drawing only from the finest and most brilliant artists. Here, of course, we assume the state is also in the hands and at the service of the Aryan race. These positions will not be filled by listless bureaucrats but by the most brilliant, ambitious, alert and incentivized men alive.

Likewise we will require highly intelligent, highly sophisticated censors, whom are the opposite of bureaucrats or, worse, church ladies. These censors will be, in some cases, perhaps themselves master artists and possessing nary a shred of jealousy. Knowing well the manner in which an artist thinks, these censors will verify the soundness of a work of art or religion, combing over all its important details to make certain no deleterious message appears. Their assessments will be reasonable.

Our regained ability to recognize REM, through Interpretatio Romano, will allow us to call forth artists publicly to defend their creations with the innocent question: Does your art have AIM (Aryan Inner Moralization) or does it contain “JEMs” (Jewish Esoteric Moralization)?  A review, staffed by those knowledgeable in symbols and REM (Racial Esoteric Moralization), will pursue every detail, every name, every color and every symbol, and the artist will have to provide his justifications.

For those who argue this will destroy the charm and mystery of art, one can easily avoid these revelations and enjoy the art with the eyes of a child if that is his desire. Regardless, he, the Aryan man, will be assured the Art is not working to subtly militate the society against him. Nor should this slow the process of art creation.   After all, these details are currently weighed carefully by producers and editors if generally with a mind toward questions of salability.

In truth, the reluctance for artists to reveal these things today comes from three phenomena.   First and obviously, they don’t want to reveal JEM or in rarer cases AIM. Second, they don’t want to give up “trade secrets” of a “symbol craft.” This study will obliterate that greedy consideration.   Artists will be required to be brilliant within a known symbol language precisely as speakers are required to be brilliant within known languages.

Third, when there is no REM, and the art is, in fact, created “innocently”, “passionately” and “instinctively”, as if a Jackson Pollock painting, artists frequently don’t want to admit the utter shallowness and poverty of their art. They are happy to have fans “read in” meaning where there is little.  Hence artists will be required to produce AIM and, yes, actually be “cultured” and worthy of their honored and deeply influential role in society.  Hence schools and conservatories in this field will actually serve a purpose and not merely exist for crass, grubby “networking” or opportunities for technical training, which one gains only by doing in any case.  This is called a real Renaissance.

If we imagine somehow this would be “harmful to creativity,” we should consider the prolific production of art in our current age, yet all produced under the careful eyes of Jews, radically committed to the censoring of AIM. We will likewise be radically committed to the censoring of JEM. In any case, as Nietzsche remarked, prolificacy is overrated. We desire a high culture. Hence we desire quality over quantity.

While corruption threatens all institutions, a Religion and Art may not be left in the hands of merchants, as it is now, particularly those hailing from that dominate trade guild known as Jewry. Here the instinct is always to weaken the Aryan race, to make him a dumb, blind, prodigal spendthrift, upon which to prey. This study will serve as an early development of this process, whereby useful works can be developed intelligently and knowledgably and evaluated in a like manner. Taking power is a relatively simple task and this is inevitable. This work is concerned with informing artists to inspire that process. Yet it is more concerned with the more difficult task of holding power and increasing it.

At some point, Jews may seek to, again, openly re-establish the Vulcan cult, to make temples, films, media and parables honoring our race, so they are permitted interaction with us. But let us know, a new artist class develops far better from us, the Apollonian, where actual fealty still exists.   Only knowledge was formerly lacking. One thing is for certain, we will no longer worship Jews, whether through Christ, Odin, Dagda, the Eastern gods, Superman, Spider-man or otherwise. If they will not worship Aryans, if Vulcan will not serve Jupiter, than he shall, as in olden days, depart from Olympus.

As this work grows in popularity and “refutations” appear where “expert” detractors have cobbled together cherry picked examples that “disprove” my understanding of myth, I will still assert the patterns and symbol language I have discerned here, if occasionally with slight error, form the basis of a future AIM which is in need only of refinement.   Again, one way or another, we Aryans require a coherent, consistent, intelligible, shared symbol language that accounts for the minutest details. I humbly propose this study as the earliest serious renewal of our Religion and Art.