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My takeaway is the idea that Trump is an artist in the same way Hitler was--a 
bad artist who nonetheless concentrates and invokes an aesthetic capable of  
inducing "the masses" to forget their self-interest and sacrifice themselves to 
a false ideal.  The ideal is not false in that it invokes and encourages a 
realistic awareness of ethnic and sexual privilege, but it is false in that it 
sells the idea that if you abandon logic and fact and immerse yourself in the 
ecstasy of the abundantly provided spectacle, you will be safe.

One of the advantages of using this idea to analyze Trumpism is that it can 
counter the "liberal" art fetish, which transforms the raw American celebration 
of  greedy man;iness into the kinder, gentler ideology of "cre-uh-tivituh" and 
the supreme importance of the terribly creative inner self, which figures so 
prominently in the ideology of gentrification and the avantgarde liberal 
version of late capitalism.  That is the ideology of "work on the self": the 
sense that when one is standing in one's perfectly renovated kitchen in a 
townhouse rescued from "them"--who still threaten to "take away our dog 
park"--in an exquisitely tasteful glow of perspiration with just a tiny strand 
of loose hair accenting the heightened color of ones complexion , in a pair of 
two hundred dollar designer leggins with one leg pulled up behind in a 
perfectly exectuted stretch as specified by a very good personal trainer--while 
contemplating the perfect mix of floral notes for one's exquisite dooryard 
garden--one is "doing something" to "make the world a better place."

What better antidote for the sickening neoliberal creativity hogwash than to 
back away from "the arts" to a severely critical distance and stop worshiping 
the almighty rainbow of inner creativity altogether?  If Trump is an artist, is 
artistry in and of itself a humanistic cause worth dying for after all?  Can we 
spend a day without wallowing in recorded music or mooning over the greatness 
of this or that half-forgotten blues guitarist--or drinking deep of the eternal 
sensitivity of those petty bourgeois menus that metaphorically recolonize the 
world by appropriating formerly "exotic" foreign delicacies into a "mainstream" 
bourgeois menu thanks to the selfless selfishness of Jeff Bezos or John Mackey?

The problem with this temptation is that the Trump spectacle, unlike the 
triumph-of-the-will stuff put out by the likes of Josef Goebbels, Albert Speer, 
Leni Riefenstahl, and indeed Hitler himself, always fails ludicrously.  When 
Trumpies put on a boat parade, the boats sink.  When Trump tries to give a 
speech invoking the glories of the American military past, he can't get his 
parade permits and winds up ranting dementedly about how the Continental Army 
defeated the RAF by occupying the airports during the Revolution.  The flyover 
and the North-Korean-style military parade don't even come close to being 
realized.  The lawsuits, which might invoke Roland Freisler terrifyingly 
ranting at victims who are about to experience a death worse than death, are a 
comic spectacle barely able to be parodied on Saturday Night Live.

If the Trump aesthetic is the wedge Trump is using to crack open the shell of 
resistance in the minds of  potential followers, why is it such a joke--and 
does its reality as a joke mean that Trumpism offers us nothing to fear?

Trump is a standup comic whose audience have internalized a self-image so 
permeated with unmoored irony that it's a wonder they don't all commit suicide. 
 There may be an interior narcissistic spectacle here, but one wonders how 
creative it really is or how much to the point it is by contrast with Hitler's 
aesthetic, which was overt, unmistakable, and in certain ways inaccessible to 
Trump, competent.  Perhaps the really sinister stuff is not happening in the 
aesthetic dimension after all.


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