Communication in Aesthetics – Part I

Aesthetics are a form of communication. Arguably, they are the first things to be a source of continuous communication long before the information superhighway with all its radio waves, television programs and phone calls was topped off with the Internet. The concept of aesthetics permeates the World both in both material and metaphysical forms. Aryan aesthetics serve a purpose, either practical or spiritual, but more often than now, both at the same time in one design. This idea is best illustrated by nothing other than the Swastika.

Radiance of the Swastika
The Swastika has a sophisticated duality to it, while retaining an effective uniformity. The Swastika is drawn in one color, symbolizing uniformity, but it also contains a simple duality, which can be read in anyway one wishes. This, however, is only a simple, surface reading of this most hypnotic symbol.

The Swastika is a cross symbol and this gives it another dimension. The simple reading here would be: left & right and up & down. A more sophisticated, and truer, reading would be: Horizontal and Vertical, thus the complete transcendence of simplistic dichotomies. One axis goes up, the other goes across, and then they both hook off to the side and cycle for they are eternal and function in unity.

Now apply this idea to a male and female. They are not sides of a duality, but interlocking axes that function in unity. One is nothing without the other, but they are not so simple as to be opposite halves. Each one has a base drive, or in this case the horizontal, which is preoccupied with basic material needs and desires. However, each one also possesses a higher functioning drive, or in this case the vertical, which is driven by genuine compassion. The simple act of holding hands on the horizontal axis is a basic fulfillment of the desire for physical contact. On the vertical axis there is the compassion, the fact they each holds the other’s hand, because the other wants them too. Compassion is reassuring the other before oneself. One is not happy unless the other is too and they both work to achieve this happiness, since each is part of something greater – the process of Life.

Now apply this idea to labor and management. These elements also function in unity as interlocking axes. Laborers perform the groundwork, are expected perform to a good standard, and thus there is tangible progress. This is the horizontal axis. Management equips the workers, and is expected to do so to a good standard, determines the work to be done, and thus there is progress in concepts that the workers then realize. This is the vertical axis. One cannot function well if the other isn’t also, since each is part of something greater – the process of the State.

The Swastika is the simplest radical form of the Aryanism. It is the essence of a complex symmetry and of genuine transcendence. Above all, the Swastika does not point, it radiates.

Aesthetics of the Body
The body is the most basic Aryan uniform. Like all other uniforms from under a shared banner, it may vary in color, size, shape and other specifics. As with Aryan motto, Unity Through Nobility, the key is to note what the uniforms share, rather than split hairs over differences.

The Aryan body is healthy, meaning it is used to a steady workload, used to walking, and with a good level of stamina. This contrasts with a body being fit, meaning conditioned for intense strains in short bursts under laboratory-type conditions. Once those conditions are abandoned, the performance level drops dramatically and is unreliable.

The Aryan body is clean, meaning it has no tattoos, no piercings or other alien elements and imported decor to display vanity, such as jewelry. The contrasts here have been made obvious.

Worn over, and functioning in conjunction with, the body are clothes. Like the body, they are kept simple and effective and made to last. One of the most obvious, and most stereotypical, examples of National Socialist attire are jackboots. The term “jack booted thugs” comes from anti-NS propaganda. Now, why did SS men like their boots so much? Simple answer: they made for walking and they last. Today there are many equivalents: motorcycle boots, cowboy boots, even outdoors/hiking shoes. Anything made for continuous performance.

The clothes Aryans wear certainly have their individualities, in color, size, shape and other specifics, such as honors earned, but all are clearly from under the same banner.

Regardless of the current duty they are performing, the unit each one is assigned to, the people under their command, the honors each one has earned for their services, or the rank on each one’s collar – the spirit of the team is what each one feels and this is what binds them. There is no scramble up the corporate ladder for a higher paycheck of debt issue currency, there are no proxies planted so that prestige may be perceived. There is only the shared struggle to perform honest work and the will to cooperate.

Aesthetics of the Spirit
Habits, or acting out of one’s beliefs, come to form the core of spirit. Society is built from individuals and thus the overall quality of the individual spirits will have a defining effect on the quality of society. Aryanism seeks to inspire the formation of a frugal society. A society that is a total contrast to today’s decadence and drudgery that is built on excess and degenerates down to waste. The idea of simple, effective clothing and a clean body are the surface of this more complex aspect.

This core spiritual idea is the center of the Swastika, whose axes expand then hook at a perfect angle and, once again, extend for the same length before halting. The Swastika that Hitler designed will always fit perfectly on a 5×5 grid. It has both expansion and restraint, thus it is the symbol for transcendence of false dichotomies. In today’s society, it is a norm to amass as much as possible and then trash what is not needed. With this, the creating of materials and energy is a purpose unto itself with everything else just being the tying up of loose ends. In the Aryan model for society, it will be the norm to create as much as is needed for a specific purpose and achieve optimal creation and consumption; in other words, to have expansion and restraint. With this, order will be formed from the present grey mass of chaos and the entire material aspect of society will only be a means to an end.

The contrast this kind of mentality is the mindset and worldview of someone like Patrick Bateman from American Psycho. Bateman is so obsessive about his superficial appearance that his entire morning routine is a careful application of his specially selected expensive soaps, shampoos, deodorants, and other cosmetic substances. He buys as much as he can and as expensive as he can. He eats at the most expensive restaurants and never at home. This gluttonous consumption is all an indicator of status. Once examined rationally, Patrick Bateman is a total slave to his habits and would be unable to live in society of frugality where individuals take responsibility to supply themselves and their folk. Patrick Bateman lives in a world where as much service as possible is directed towards him. Aryans live in a society where as much service as possible is directed at the folk.

In fact, indulgence, or the awarding of unearned goods, is self-deception. Indulgence is a proxy for something that’s not even there! Thus, it fits right into the spectrum of FIAT currency, materialism, self-righteousness and the whole spectrum of Jewish thinking.

Aesthetics of the State
A frugal and disciplined society will build a State in its reflection. Again, the Swastika serves as the perfect example. From the center, the two axes each extend in two directions before each hooks off in opposite directions at either end, and comes to a stop after an extension identical to the last to make the Swastika. On the National Socialist flag this is the simplest radical form of Aryanism not just for its geometrically ideal construction, but also for how it fits into its surroundings. The Swastika is in an equilibrium with its surrounding, not taking up more space that it needs, though as we can see in the flag, it can be much bigger. However, as far as the flag is concerned, it is not just the Swastika that matters, but the entire image with white circle and red field included. These background elements are not to be taken for granted as they function just as importantly in the whole composition as does the Swastika.

In an Aryan State, the Leader, who is in the foreground and representing the State, is just as vital as the government and the folk – Swastika, circle, field – all work together at all times, no exceptions. Folkism is the team spirit of society.

In architecture, this too applies. Every stone, every tile, every wooden beam and steel girder does its part to create something greater than and beyond itself.

Rothenburg ob der Tauber, Bavaria, Germany

Whether it is an example from the real world or from myth, Aryanism is very much alive.

Minas Tirith, Gondor, Middle Earth

Aesthetics of Symbols
As we have seen, the Swastika is the simplest radical form of Aryanism. It symbolizes knowledge and honor. It contains both expansion and restraint. It transcends any false dichotomy. It was placed on a flag design by Hitler in such a way that it perfectly fits with its environment; three different shapes, three different colors all contrast yet work together with not a bit wasted. Note, that the Swastika flag with the off-center disc was created later for flags that were hoisted on poles and masts. Due to the flags’ fluttering, the off-center disc (closer to mast side) was necessary to keep the originally intended impression. In other words, a new design was made to work in a new set of circumstances.

Another important symbol is the Hagal Rune, which symbolized a realm of protection and care. It can be seen here as the insignia of the 6th SS Mountain Division “Nord” and as the contemporary icon of Emergency Medical Service units, the Star of Life.

The Jewish hexagram icon is merely a bloated version of this symbol. While the Hagal rune and the contemporary Star of Life variant are lean in shape and have an aura of transcendence, both expansion and restraint, thus linking them Aryanism, the Jewish hexagram is expanded and inflated suggesting a desire for dominance and stressing the use of appearances as a tactic. The flag of the British Empire can also be seen to be a bloated Hagal rune and this particular flag is world’s most infamous symbol of empire, colonialism, slavery, domination and exploitation. The current main banner of Zionism, the flag of Israel, is also themed in dominance, since the two blue stripes on it, one along the top, the other along the bottom, symbolize two rivers – the Nile and the Euphrates – the postulated borders of the heart of worldwide Zion. Thus, the Zionist flag is a just a crude map, a symbol of containment, of elitism, exclusive access and deception.

Like-minded symbols, include the Soviet Hammer and Sickle – tools of basic labor – and the Masonic Square and Compass – tools of calculation. Both symbols are purely materialistic and any group that has them as its banner is motivated by labor for the sake of labor, or drudgery. There is a definite lack of greater purpose, idealism and transcendence.

This is precisely what Hitler avoided when designing a flag for the Third Reich. Certain departments within the NS Reich had apparently materialist symbols, e.g. the Reich Labor Service, but each logo also contained a Swastika. The Sun was always there, since the constant motivation what to achieve a greater goal.

Power vs. Will
How this is all put together and employed determines the results generated. For those who want to work with manipulation, the previously mentioned icons – Soviet, Masonic, Jewish – will serve your goals. For those who want to wield power: strap on the boots, snap those heels together, and whip out that salute to the symbol of power.

However…

There are those who see that fasces need to be artificially bound together, a binding without which they will fall loose. Fascism is, at best, a prison system. It is a sense of discipline for the sake of discipline itself, meaning a raw form not yet applied to any useful purpose. In a prison holding those who have broken society’s laws and must now prove that they can still abide by them, this kind of crudeness may very well work. But it is not suited for an Aryan State.

A free state cannot have its people bound and tied into “loyal” following. The people must be there out of their own will and it must be that, which holds them together and – critically – it must be that which drives them forward. For those who want to embrace the full potential of the will – strap on those boots, snap those heels, extend that salute, and become the power!

PART II

About Miecz Elizejski

Kindling a Kampf deep in Zionist occupied territory.
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4 Responses to Communication in Aesthetics – Part I

  1. Some good interpretations of symbology here. The Fasces as you have discovered is not an Aryan symbol and not a symbol of freedom, that is why it is a Roman symbol and more recently a American symbol. I can give you some more insight into the Fasces; it is a bundle of ‘litui’ meaning ‘wands’ or divining rods, which were the first sceptres of the Patrician monarchs, these ruling Patrician monarchs united together when their servants, or the slave class they had bred rebelled, forming a closed order or senate of kings in the first cities. The monarchs used law and religion to subdue the rebels servants who became the first urbanized Plebeians,

    To ‘bind’ in Latin is ‘religare’ from which the English word ‘religion’ derives.

  2. Niebo says:

    Yes, I recall Kamerad O.C. said the “fasces’ is of Etruscan origin and corrupted

  3. Fascism = “My Honor is Obedience”

    Aryanism = “My Honor is Loyalty”

    Fascists can’t see the difference. They are inherently pessimistic and distrustful like Jews, albeit Jews partly see the difference between the two above statements, but only enough to corrupt it for simple minds to then eat up.

  4. aufihrhelden says:

    Regarding aesthetics in general, do you see how in Central/Northern Europe there will be a beautiful square or row of buildings and then ‘they’ will (especially post war) build right next to it a hideous steel or plastic monstrosity to ruin the overall impression. It’s almost as though it is deliberate …
    Also, the number of historic buildings in the last few hundred years which were ‘destroyed by fire’ – eg destroyed by fire, rebuilt, destroyed by fire again, rebuilt again then bombed in the Second World Zionist War (just to top it off). It’s almost as though it was deliberate …

    Off topic has anybody seen the TV series, The World at War, made in the 1970’s and narrated by the Zionist lapdog Laurence Olivier – perhaps the most evil, hateful pack of lies ever directed at The German People ?

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