Acting-Out Politics

Weblog opens discussion about the psychology of Bushmerican style of behavior.

Until recently we all thought that Coronavirus is killing people, that this danger is targeting human beings, until we heard that the problem is somewhere else, that the real serious issue is not human death, but the ability of this virus to kill… the economy. Wait a minute – how virus can kill something as massive and omnipresent as… economy?

Step by step it has become clear that the virus is indeed, capable of “killing the economy”, but it can happen only through killing some people connected with the economy, more exactly, some people carrying the economy inside themselves… in a form of their own money-profit as a part of the economy. So, virus which is “killing” economy is killing money/profit which rich profit-makers make. That’s what it means to kill the economy – when people lose their jobs because of the necessity to stay at homes “distancing” themselves from one another (not to contaminate each other) the moneymakers lose their profits. That’s what they call “killing the economy”.

To deprive the profit-makers of their profit-making is considered the equivalent of “killing the economy“ because this freaky slogan is dramatizing the situation so much that everybody will feel being in danger – without food and roof over their heads. The death of the economy – the loss of profit by the profit-makers is much more important than the dying human beings.

Private profit is the columns of life, the skyscrapers of the living. If you lose it – you are losing the eternity itself. Economy is a sacred word with a power of opening the gate to the Paradise. But what is behind this word “economy” – the private money-profit – is even more – it is the beating heart of human eternal glory. Economy must live even if human beings will die! According to the private profit-makers – human being should die if needed – for the economy to prosper!

Greed and Gluttony of Sexual Domination, Consumption/ Appropriation/Self-expansion and the Psychological Need For Being Entertained/Megalomaniacal Self-engrossment – In Fascism and Post-Democracy

In the middle of the 70s Pasolini was inspired to combine his creative inspirations by juxtaposing his retrospective vision of Italian Republic of Salo (1945) and his “futuristic” vision of post-modern “construction” named US (at the end of the 20th century) warming up for its “high-tech” flowering in new century. Today’s totalitarianism establishes itself not only by one ideology for everybody, like in the Soviet Union, Nazi Germany or today’s USA with its propaganda of money-making and private wealth-building through austerity for the majority.

Pasolini was “impressed” not only by the importance of sexual domination in Salo and in the post-modern democracies and its versatility including insistent (obsessive) practices of pedophilia, but also the common fact in the Fascist Republic of Salo and the “democratic” post-modernity of simultaneously living in peace and making wars. In the Salo people live violently but majority didn’t participate in wars and have little interest for it, and so are developed Western countries prone to make wars and yet enjoy living in peace at the same time. It is confusing and gives people the chance to feel that it’s possible and even “cool” to be belligerent and democratically peaceful at the same time – to be tough but tolerant – a psychological combination which is a part of the American soul.

Conservatism tends to imply the naturalness of inequality and domination on the one hand and friendliness and familiarity on the other at the same time. It is emphasizing the possibility of the distant bonds between billionaires and the homeless. The distance of indifference allows people with opposing interests to live “together” – it’s as if people need each other because they can exploit (use) or hope to use (exploit) one another. They feel that it’s healthy to have – a pragmatic (cool) togetherness. That’s why Fascist leaders in Pasolini’s film need the young girls and boys. They need them not only because they want to sexually possess their bodies, but because they want to have their collaboration in letting their bodies be used/exploited. These sophisticated fascists need the presence of victims’ collaboration in their own exploitation – the agreement of the used/exploited in being exploited. They need girls-boys’ volunteerism, they need their mind agreeing with them being exploited. In other words – they need girls-boys to be co-exploiters of themselves! That’s why the fascist leaders of Salo created a final assessment of the quality of girls-boys’ sexual collaboration and severe punishment for non-collaboration. The collaboration in being exploited is the vital point of fascist pedagogy in Salo and the basic principle of post-modern economy as a sucking of private profit.

It is, as if, it should be some friendship – a certain buddy-buddy familiarity, degree of mutual understanding between exploiters and exploited. Only then exploitation works as non-exploitation at all, but as a free-choice democratic arrangement of an emotionally positive collaboration between sides. It’s necessary to be able to love your sexual boss (in Salo) or your employer (in post-modern economy) – only then you will be appreciated and rewarded. For the leaders of the followers it is not enough to follow – it’s necessary to admire the leader. That is the real motto (in Salo) and vital custom in a “post-democratic” societies. Symbolism of financial incentive-reward is not enough. The multiple and passionate loyalty is needed. Despotism as love doesn’t have limits as despotism, as love as admiration and loyalty. That’s also why despotic greed is limitless. That’s why people who are working for billion dollar companies are greedy for a higher and higher salaries – it’s because their companies are greedy for more billions. It is like in Salo – the mutuality between the boss and his loyal admirer.

For a leader it’s not enough that those who worship him are ready to die for him – the leader expects that his worshipper ultimately wants… to use him as well. If love is not including exploitation – there is no mutuality in love. Of course, money reward is not enough. It’s supposed to be disinterested – absolute love on the both sides. That’s why exploitation itself is greedy and insatiable – it cannot be satisfied if the greed of the exploited is not present. Jean Janet in his “Maids” analyzed this phenomenon through. Greed on both sides is a synonym of mutuality. That’s why in Salo some of the humiliated and exploited youths of both genders try to put up and go through everything including the impossible in order to be rewarded at the end, while others are ready to be tortured and finally killed rather than to serve their bodies and wills voluntarily. Refutation of passionate greed is a revolution which asserts freedom and with it the tender relativity of love free of possessiveness.

As the humanistic sociology and social wisdom have it – conservatism is a greed, inequality and domination, while democracy is equality and mutual respect. Can you have mutual respect between billionaires and homeless and the hungry? It seems like in US, like in Nazi Germany or Stalinist Russia it is possible. Not only possible but respectable. Not only respectable but admirable. It looks that austerity can create admiration on part of those who are punished by austerity, a passionate idealized love for the strong and wealthy creators of austerity who respect the poor’s ability to tolerate humiliation and torments because of loyalty and… love. “Love in spite of…” can be observed not only among young recruits, but also among the over-loyal patriots mixing patriotism with soil and generals’ uniforms. To die for the master who sends you to die is for a masochistic – amorous absolute greed – as sweet as for those who believe in the teary pathos of immortality based on belief in people’s eternal (grateful) memory.

Collaboration between antagonistic partners – strong and wealthy on the one side and people with limited rights – is what allows the republic of Salo and post-modernist and “democratic” arrangements live together, although emotionally distantly. Revolutions are impossible in economically unequal “distant” togetherness. Salo and postmodern democracies (where rich and poor, the dominant and dominated ones are trying to collaborate) based on intimacy of inequality can prosper, although it’s traumatic for the subdued and the exploited ones. It’s traumatic although it gives the weak the chance to survive. Sexual and economic inequality is irrationally attractive for the week side, because it unconsciously appeals to the human emotional greed – it stimulates it. Statistics of divorce in today’s US is, perhaps, the simplest and the most elementary illustration of this fact. The side that is ready to divorce finds s/herself in pseudo-leadership position, while victims of divorce feel painfully frustrated and abandoned. These people are coming through the same conflict as the masters and victims of sexual domination or exploiters and exploited.

Sexuality as part of consumerism and entertainment (based on expansionistic self-enlargement characterizing the American way of life as slightly but substantially different from that of the European) is the economic cradle of exploitation and its acceptance by the exploited. To consume (to appropriate, possess and self-inflate) and to be entertained (served by amusement) – are the most basic and the most flattering forms of pop-satisfaction and self-aggrandizement. According to Pasolini, Salo despotism or post-modern exploitation on part of so called democratic economies are the ultimate examples of coexistence of exploiters and the exploited (when the both categories of people have their disappointments but also their satisfactions), and when the deprivations of the exploited were possible to tolerate. Consumerism and entertainment which Pasolini depicts in “Salo” as a part of sexual relations are of the same type as in today’s post-democracies.

Sexual domination, consumption as the way of life and entertainment as a chronic demand of the hollowed out human souls are forms of social pathology reinforced by the technological might and economic orientation. These seemingly innocent vices are exaggerated, despotic and self-serving. They create from human beings a self-centered monsters who transform life into a chaotically happy cornucopia of impulsive and devastating fraudom-freedoms.

In February a disaster invaded our country – Covid-19. Many people had already fallen victims of this disease, but the doctors, nurses and the medical personnel in general continue to do the hard work of saving Americans. Unfortunately, prejudices and superstitions were also part of some people’s reaction on the disaster. The foreign and Americans specialists of high professional level make resistance to Covid-19 productive and optimistic.

Reaction on the pandemic by Those with Entrenched Psychology

Foreigners with monstrous viruses attack our country. Not surprising – they envy our unique economic achievements, our wealth and health. So, they try to destroy our greatness, smartness and prosperity – they are contaminating us with viruses – with alive poisons. Our leader has built the border wall – first, the wooden one – which our enemies penetrated, after that he built the metal one – they somehow went through it. The first price for the wall was in the millions, the second in billions, and now the price is closer to trillions. And still our enemies armored with viruses managed to come to our health and our bodies. Now we are paying for these walls with our money – with our medical care payments-painments and with costs for our food. But we are happy that we participate in handling the difficult situation.

Our leader understood that the virus is coming to us with the wind – with the wind from a foreign lands. This virus is flying in the air like fish swims in the water. How to destroy this son of a bitch? Oh, we have the answer – we have nuclear technology! We have to bomb foreign lands sending to us their viruses – if the air over and around them will be contaminated with radiation then these disgusting viruses will be paralyzed and destroyed. Or do they? Our leader, we can be sure, right now is consulting with specialists in money-making to resolve this issue.

We are sure that viruses even with the devil’s crown on their miserable tiny heads, will not fly to us as soon as they will be paralyzed by radiation and fall to the revolting ground of foreign countries. But, of course, a new problem will be how to stop the wind from carry to our sacred land the radiation. Still, we are sure – our belief carries us – that our leader will solve this task as confidently and successfully, as he did other difficult tasks. We will help him.

Civilization of Pretentious and Megalomaniacal Posturing Through the Dynamism of Architectural Art

The first part of the film represents a luxurious liner full of not only well dressed and confident people of European background, but also Honorable guests from some other countries. The goal of the luxurious ship’s trip – not without humor is characterized by Godard as a trip to the future of humankind. Amazing and a paradoxical shot in front of us represents Godard’s comment about the passengers’ life style vis-à-vis the world.

Let’s concentrate on the bended, deformed, squeezed, almost broken and yet pompously deluxe and almost musically ornate lives of the people amidst the interior design of the ship.

The luxury of comforts which the passengers of the ship enjoy is emphasized by the sharp perspective from the upper position of the viewing directed down. It is, as if, the people belonging to the top layer of society sometimes are sliding down to distract and refresh themselves from being on top of the social configuration.

The stress of the circular movement of the stairs becomes the punctum of the shot. People live between up and down – from up down and back. The logic of architectural design sometimes moves the top people down from their posture of being on the top to the most relaxed condition of idle consuming and being entertained by the kitsch. But the static strain of the movement of the staircase reflects the later change of climbing back up from the bottom. The demanding pressure of the staircase reminds the torturing reality of human history. Today’s movement from the bottom up has become more of a holiday, but the boredom of fakery of entertainment and consumerism puts people in a position of compulsive and perverted grabbers of junk images and technical toys. The stress of the twisted railings is not referring to the physical strain of those who are climbing up, but to the moral burden (societal obligation) which today’s career-makers take upon themselves – the top of society keeps the bottom happy by providing it with satisfaction of observing how the top moving around. In other words, the very contrast between up and down is not that the top is being ahead and above, but that it’s making the effort of demonstrating to the inhabitants of the bottom – the “service“ people, that the top takes them seriously, with respect.

Do we see in Godard’s shot, that human beings are moving on ship to or into the future? It doesn’t look like it. Rather, it is a ship moving god knows where and taking humans with itself.

A Childhood Stolen from the kids by Society is not replaceable by the availability of guns, by competitive sports, by petti moneymaking or dream of becoming billionaires

The friendship between Pixote – the homeless boy-pauper (Fernando Ramos da Silva) and a lonely prostitute (Marilia Pera) – a woman with a kind heart who tries to console him) came to a curious misunderstanding. He wants to become an adult like all kids do, especially the ones without a childhood. Pixote rushes to become a man capable of handling life and destiny.

Pixote’s adult friend (Marilia Pera) tries hard to give Pixote a bit of pleasure that she thinks he expects from her, but he cannot become an adult without having any childhood. He is doomed to be not only without childhood, but without adulthood too. He is doomed to be without life. Petti criminality and drugs the only things available to him.

In agreement with the archaic law of life Pixote really needs a childhood – he needs a mother and a father with their smiles and tenderness, with attention and toys, not the cold and hunger, and solitude he was exposed to from his early hours of being. Adults should open adulthood to the child very gradually, very gently. And this fact contradicts the logic of many modern societies whose task is not so much to care but to force the next generation to learn how to fight for survival and food and in rare cases to become successful criminals or even technological clerks and money-makers and fierce competitors for social success – conditions of life considered as great happiness.

The primordial need for the reality and symbolism of a mother’ breast, for emotional nurturing becomes even stronger when a despotic society of severe demands, ultimatums and menaces applies to the youth its expectations, when even the luckiest among the growing children start to dream about the most financially rewarding professions in their future because they don’t know even internal, not only external freedom.

Hector Babenco – 1946–2016 (Argentinian/Brazilian film director, creator of many films including “Pixote”)

Hector Babenco (on the left, standing right over Fernando Ramos da Silva playing the role of Pixote)

Child-actors resting and joking on the set of “Pixote”

*”Pixote (Small Child: The Law of the Weakest”) is a Brazilian drama directed by Hector Babenco

The main character Ntoni Valastro (Antonio Arcidiacono) is a Sicilian fisherman fighting for justice and human nobility of his own and the other workers. Here, we see him happy – a rare moment in his life. With incredible difficulties he collected money to buy a new boat, and for a while he believes that he’ll have a chance to become married and even successful person.

Here, the family has returned from a whole day of work. We see Ntoni right in the middle, in the background, bent over the washtub.

Visconti makes Ntoni always present among the people as a kind of the collective soul. But it’s not by chance that sometimes it’s difficult to recognize him in the stills – it’s, as if, his role really to be the living soul of people’s life. This is Visconti’s creative solution of cinematic representation of the Ntoni. From the one side he is an authoritative figure amidst other fishermen – a democratic leader and organizer of the community, yet at the same time he is just like everybody else.

During one of their fishing trip the fishermen hit a storm, and Ntoni lost his boat – he had to sell what was left of it to a businessman. Here, we see him after losing the only thing that made it possible for them to fish at the sea, as if, alien to his old boat, to fishing, to his habitual life – as if, semi-existent.

Step by step Ntoni has lost his optimism, endurance, interest in life. We can barely discern him here after he wasn’t helped – was betrayed by the richer fishermen and came to be tormented by hopelessness and despair.

Eventually, after several years, when many members of his family have left (fled) in search for job somewhere else, we can see Ntoni, when under the influence of his youngest brother who is looking at Ntoni as if, mutely asking him to go to and ask those very people who betrayed him – for work. And Ntoni overcame himself and doing it for the sake of those) who have the right to live.

The film is dedicated to the democratic fight of the poor people for their dignity and in this sense is metaphoric history of our times (US in 20th – 21st century). Pauperized, desperate and angry, Ntoni is capable of finding in himself the power of vitality and love of life. Life is not destroyed when other people destroy it. Life can continue when only one person is able to recover the spirit of justice. Ntoni, as if, restored life by overcoming his own deadly despair. By triumphing over his insults and torments by asserting his taste for decency – justice and equality he is saving the life in general and not only his own ability to live.

It starts at the two top social levels – the power of supreme governmental administrators who decide to enrich the rich by reducing their taxes (by give-giveaway – or handout-out), and bill-mills (billionaires-millionaires) – the miraculous winners of this grand trick. The wealthier the billionaires – the stronger the politicians on elected positions become because extra-money means for them TV-super-ads that will guarantee their popular support by the voting population. The elegant bureaucratic quid pro quo creates financial magic – politicians provide additional money to bill-mills, and bill-mills provide secure job for the politicians, while Democracy loses the precious competition for the political positions which could provide the necessary opportunity for the people to influence what’s going on in their country.

Neo-con politician don’t want any-more to compete for political positions, nor neo-con businessmen – for their economic successes. Competition for them is outdated term – it’s too polite, too democratic, too sporty game. It’s for competitive videogame players, not for the haves and have-mores. Neo-con politicians want to have their positions – forever, while neo-con businessmen want their supreme right to make money without any regulations and in a way they choose to make it. Both groups want to do what they want without any public discussions about it. “We are free! It’s up to us to decide how to multiply our money.”

Neo-con politicians want absolute stability – to have their positions guaranteed for ever – without the opening doors to bureaucratic regulators who call the brave Republicans “the peachy rich and stealthy wealthy”. “Relations between the moneymakers and money should be pure, as relations between a husband and a wife. Yes, intimacy between money and moneymakers has to be as untouchable as intimacy between spouses or between members of a family. The job of creative masters of the tough art of financial equilibristic should be supremely, untouchably respected! Who makes money owns money. Money like babies – they belong to their parents.” For people who think like this, other human beings just don’t exist. Only they and their money.

Together with destruction of competition right in front of our glassy eyes and our cowardly silent or desperately hysterical mouths goes the destruction of freedom of speech. Critical speech is controlled through official press full of robotic journalists (robbing public of truth and trained like trains). But speech as such is contaminated by frivolous and seductive re-formulations, which distract from seriousness and responsibility of common sense, logical assertions and argumentations. The language of fun and funny insults changes the speech of sense. The seriousness of speech is easily destroyed by the jargon mocking and parodying reality through verbal clowneries which are grown like weeds.

Today’s primitivization of language in USA is not a new phenomenon since the development of mass culture with pop-entertainment and pop-music after WWII, but it especially intensified with the direct right-wing propaganda along with injection of entertaining political theatrics since the 2016 Presidential elections. The digitalized environment helps to make the speech of especially the young people without humanistic education irritably impatient, as if, they were expecting billions from Democratic Party which democratic politicians have failed to provide and only today the neocons in power will be able to deliver. The American youth with anti-democratic and pro-neo-con orientation talks with the world demandingly and rudely as SA recruits were in Germany. They want from the world what they think they deserve – money, prosperity, universal respect and power. And they intend to get it with their votes and guns, besides, they believe that they have the greatest leadership in the world.

The homeless, hungry and the pauperized are perceived by the youth with neo-con sensibility as being not Americans at all. Either they are foreigners – emigrants/refugees “parasitizing on us, real Americans”, or they are “outdated” Americans who are weak, without will, self-respect and the ability to act and “who anyway don’t deserve help and should die on the streets”.

Today, two and half categories of American citizens are discernible by their angry enthusiasm. The stubbornly wealthy Wealthy dreaming and acting to become wealthier and Wealthier (it means, that they will habitually get generous “gifts” from the governmental politicians (their younger “brothers”). And, finally, desperately hateful fanatics among the poor who are ready to kill the “not fanatical poor” for the sake of their totalitarian leaders. Extreme rich and extreme poor come together, as they have many times in history, when poor and rich share their “love” for each other and hate for “the alternative, not conservative poor”. The charmingly strong leaders always find its loyal crowd, and crowd its leaders. So, these two and half categories are sociologically historical archetype of typical human beings, not touched or not able to be impressed by humanistic education, very smart creatures-crotches, indeed.

The fascist Presidente (Aldo Valetti) shows his friends that he cares about the children’s’ morality-immorality issue – “Don’t tell about my misdeeds in front of innocent children whom we need to protect from the truth until the proper time”.

The fascist Bishop – Giorgio Cataldi (the picture on top) is irritated by his young victim who is being tortured by the guard in the camp of Salo: “Idiot, you are afraid that we’ll mess you up? You are dying of fear. You don’t know that we want to kill you 1000 times. So, we are not rushing. Get it? You are in our hands to the limit of eternity if eternity could have a limit.”

Torture in Salo is a warming up prelude to a group rape

Signora Vassari (Helene Surgere) is proud of the emancipated excellence of fascist Women

Signora Castelli (Caterina Borato) having a good time giving stories about torturing women

Bishop’s unleashed misanthropic fury

President (Aldo Valetti) likes to humiliate and torture women alone, face to face

Obviously stupid innocence of fascist jokes is not without meaning

The President (Aldo Valetti) likes to expose his naked rump for a dynamic public viewing – he is a buttock exhibitionist. For him human (superhuman) buttocks are always invitingly smiling (here, President’s face is impersonating his buttocks). The point here is that kiss by buttocks for the Presidente (in reality not that of the leader of the country, but of a super-prosperous bank) is the sweetest experience (so he claims) waiting for the always wandering human penis.

President’s buttocks are invited to a cheerful dinner. The Duke, Signora Castelli and the young guards are happy. But it’s not easy to imagine how the presidential buttocks will be gastronomically served.

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